If I were allowed to keep just one of my lenses, it would have to be my macro lens. It’s a Nikon Nikkor 105mm f/2.8 Micro, and probably my oldest; so old that it has no new-fangled features like vibration reduction.

The reason I love it is that it allows me to see things in a completely different way. As an adult you probably wouldn’t choose to lie flat on frosty ground to look at a crocus. Acquire a macro lens and it’s worth it – just to see each delicate crystal of ice on the petals. It’s a whole new world of beauty!

Top 7 Macro flower photography tips

1. Use a tripod

I always use a tripod if possible, as it helps with very precise focusing. It also means that you can really fine-tune your composition. For very low-growing flowers, the use of a tripod can be awkward. So, I usually lie flat on the ground and brace myself on my elbows.

Snowdrop group shot for macro flower photography – Credit: Sue Bishop

2. Group shot

It’s always lovely to photograph one flower with others of the same type in the background, using a wide aperture to throw them out of focus. The flowers in the background support the main subject in terms of colour and shape but are soft enough not to distract from the main flower.

3. What are the best lighting conditions for macro flower photography?

Very often the best light for photographing flowers is bright and overcast. Because the light is diffused by a high white cloud, it doesn’t create any shadows. If you photograph on a sunny day, using a reflector will help to boost the light on the shadowed side of the flower.

Creative cropping of a tulip – Credit: Sue Bishop

4. Creative cropping

It’s also fun to photograph just part of a flower, cropping right into it so that the petal edges are cut off. Make sure though that your crop is definite enough to appear obviously intentional – inaccuracy, cropping off a couple of petal tips could look like a mistake.

Shooting in close proximity to your subject will reduce the depth of field significantly. Credit: Sue Bishop

5. Focus manually

When you are working on close-ups, your depth of field will be very shallow, especially at your widest aperture. So it’s important to decide exactly which part of the flower you want to be sharp. To achieve this, manual focus is best, and live view can help you check that you’ve perfected the shot.

Cherry blossom. Credit: Sue Bishop

6. Consider your backdrop

If you fill the frame with a flower, concerns of background disappear with it. Otherwise, ensure that a background to your image isn’t distracting. Avoid bright colours, especially if the subject is a paler colour. If the background is messy, use a wide aperture to throw it out of focus.

Filling up the frame with an anemone. Credit: Sue Bishop

7. Viewpoint

Think about your point of view. It’s often good to get down to a flower’s level and approach it from the side, rather than looking down on it from above. Look through the viewfinder as you move around – every tiny change in your angle to the flower will affect the image radically, so it pays to be observant as you do so.

Kit list for macro flower photography

Close-up lens

A macro lens can be handy for flower photography, like the Laowa 65mm f/2.8 2x Ultra Macro pictured here, but you can also get fantastic results with a close-up lens.

Do you need a macro lens for flower photography? Not necessarily. Without a macro, a close-up lens is an alternative. This is a secondary lens to screw onto the front of another like a filter, and reduces the minimum focusing distance. With a close-up lens, you can move the camera lens closer to the subject and gain a macro lens magnification effect. It is also inexpensive and a great way to get started with macro photography without breaking the bank.

To invest in a macro lens, we’ve shared the best value macro lenses, plus the best macro lenses for Mirrorless and DSLR, and the best second-hand macro lenses.

Reflector

The smallest Manfrotto reflector (previously known as Lastolite) is big enough for flower photography, or I even use just a piece of white card. A diffuser can be useful if the light is really harsh.

Manfrotto (formerly Lastolite) Collapsible Reflector

Tripod

A tripod helps me to take time for my composition as well as focus precisely. I also use a cable release to avoid moving the camera when I press the shutter button.

See more accessories for close-up photography here.

Sue Bishop specialises in flower and landscape photography and is the author of three books. She has exhibited her work many times and sold her images worldwide. In 1994 she and Charlie Waite founded Light & Land. Visit www.suebishop.co.uk.

More reading:

• Beginners guide to macro photography
• 30 ways to photograph a bouquet of flowers
• Top 20 best close-up and macro photographs
• How to take great macro photos on a smartphone
• Top tips for insect photography
• How to get great autumn macro shots

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The post Top tips for close-up flower photography with a macro lens appeared first on Amateur Photographer.

Apparently, Leonardo da Vinci used to get up every morning and write a list of all the things he wanted to learn that day. You’ve got to admire his drive, and the fact that he died at the ripe old age of 67 (life expectancy was around 35 back then) seems to suggest that his thirst for knowledge might have played a part in keeping him alive. While I share none of da Vinci’s polymath brilliance, I do share his desire to learn something new every day. Imagine my delight, then, when I had the joy of spending more than 20 hours chatting to a group of brilliant scientists, naturalists, journalists, writers and photographers while judging Close-up Photographer of the Year 5 (2023)!

Thanks to these wonderful individuals I now know that tadpoles can eat birds, ants fire acid like water pistols and bees sometimes hold each other’s legs while they sleep. And then, of course, there is the knowledge gained from looking at the photographs and accompanying captions sent in. More than 11,000 creative and original pictures made by people whose passion and dedication to the craft of photography is abundantly clear. Personally, I think this is our best survey of close-up, macro and micro photography yet, and I’m so grateful to those who have provided the opportunity to see and learn from their work. I hope you feel the same.

This year there were 11 categories: Animals, Insects, Butterflies & Dragonflies, Invertebrate Portrait, Underwater, Plants, Fungi & Slime Moulds, Intimate Landscape, Human Made, Micro and Young CUPOTY. Csaba Daróczi took the overall title with his incredible image of a bird taken from inside a tree stump, while Carlos Pérez Naval was named Young Close-up Photographer of the Year 5 for his unusual picture of a Moorish gecko in a ‘petrified forest’.

To see the winners and Top 100 pictures from CUPOTY 5, visit www.cupoty.com. To stay up to date with all things CUPOTY sign up to the newsletter.

Close-up Photographer of the Year 5 Winners

Overall Close-up Photographer of the Year 5 Winner (and winner of the Animals) category

The Bird of the Forest by Csaba Daróczi

Camera: GoPro HERO11 Lens: 15mm ISO: 800 Aperture: f/2.5 Shutter speed: 1/5400sec Accessories: Remote control. Image: © Csaba Daróczi | cupoty.com

Category: Animals
Nationality: Hungarian
Occupation: Photographer
Further information: www.daroczicsaba.hu, Instagram: @daroczics

‘In the winter of 2023, I took a lot of photographs in a forest close to my home in Hungary. I found something new to photograph almost every week, and I spent several days exploring ideas and perfecting techniques. Staying curious and open-minded led me to this hollowed out tree stump, which measured around half a metre in diameter. I carefully positioned my GoPro 11 camera inside the trunk and took a few shots. I was amazed by the results. After a few days, however, I decided the composition might be improved if I included an animal in the frame. So, I returned to the spot and placed a sunflower near the hole, which the mice and birds soon found.’

Csaba’s top close-up photography tips:

1. The GoPro is great for experimental shots such as this one because it offers generous depth of field, even at such a wide aperture.
2. To make the most of opportunities as they arise, get to know your equipment – that way you can act quickly and intuitively.
3. When you closely observe the behaviour of animals you can use this knowledge to help improve your pictures.

Winner: Fungi & Slime Moulds

The Ice Crown by Barry Webb

Camera: Olympus OM-D E-M1 Mk II Lens: Olympus M.Zuiko Digital ED 60mm f/2.8 Macro ISO: 200 Aperture: f/4 Shutter speed: 1/2sec Accessories: Tripod, cable release, three extension tubes, Raynox 250 Post processing: 74 images stacked in Zerene Stacker. Basic adjustments in Lightroom and Photoshop. Topaz DeNoise. © Barry Webb | cupoty.com

Category: Fungi & Slime Moulds
Nationality: British
Occupation: Gardener/photographer
Further information: Website: www.barrywebbimages.co.uk, Instagram: @barrywebbimages

‘I found this one-millimetre-tall slime mould (Didymium squamulosum) in leaf litter carpeting a woodland floor in Buckinghamshire. It was a cold January day, and the frost had formed a crown shape on top of the fruiting body. I had to be very careful not to breathe on it. During a previous attempt with another slime mould, my breath had melted the ice when I inadvertently got too close.’

Barry’s top close-up photography tips:

1. Be careful not to breathe on frosty or icy subjects!
2. Frosty mornings can create unique images, so wrap up warm and don’t be put off by inclement weather.
3. Always be on the lookout for the unusual. I use a loupe to fully explore the possibilities presented by tiny subjects such as this.

Winner: Insects

Wood Ants Firing Acid Secretion by René Krekels

Camera: Canon EOS R5 Lens: Canon EF 100mm f/2.8 Macro IS USM ISO: 320 Aperture: f/9 Shutter speed: 1/125sec Accessories: Tripod and flashlights. © René Krekels | cupoty.com

Category: Insects
Nationality: Dutch
Occupation: Biologist
Further information: Website: www.renekrekels.nl, Facebook: rene.krekels

‘I had been studying the lifestyle of wood ants in the Netherlands for work when I noticed the defending ants of a very large ant’s nest seemed eager to scare me off by spraying acid towards me. Luckily it wasn’t that destructive, and it provided me with a great opportunity to photograph them defending the nest.’

René’s top close-up photography tips:

1. Know your subject and its ecology, so you can anticipate its behaviour.
2. Be sure that your trousers are not easy to climb up or you’ll get a tickling bite in your belly or arms from the ascending ants.
3. Come back during different seasons to see different behaviour.

Winner: Butterflies & Dragonflies

The Wedding Guest by Csaba Daróczi

Camera: Nikon Z6 Lens: Nikkor AF-S 24mm f/1.4G ED ISO: 3200 Aperture: f/1.4 Shutter speed: 1/320sec Accessories: None. © Csaba Daróczi | cupoty.com

Category: Fungi & Slime Moulds
Nationality: Hungarian
Occupation: Photographer
Further information: www.daroczicsaba.hu, Instagram: @daroczics

‘I was photographing a wedding in a forest clearing in the beautiful surroundings of Uzsa, Hungary. The hall lights attracted a lot of insects to rest on the windows. At one point, I saw some guests taking pictures with their phones next to one of the red lights. As I moved closer, I noticed an oak peacock moth (Antheraea yamamai) had taken up residence on the window. I waited until everyone had finished their pictures, and then it was my turn.’

Csaba’s top close-up photography tips:

1. Light can be used to attract animals, be ready to seize any opportunity.
2. Take advantage of good fortune – stay open-minded and ready for action.
3. Try and tell a story with your picture – understanding the behaviour of the butterfly certainly helped here.

Winner: Invertebrate Portrait

Jumping Stick by Tibor Molnar

Camera: Olympus OM-D E-M1 Mk II Lens: Olympus M.Zuiko 60mm f/2.8 Macro ISO: 100
Aperture: f/5.6 Shutter speed: 1/50sec Accessories: Godox V350o flash with Cygnustech diffuser Post processing: Seven frames stacked in Helicon Focus, Topaz DeNoise. © Tibor Molnar | cupoty.com

Category: Invertebrate Portrait
Nationality: American
Occupation: IT Manager
Further information: Instagram: @thetibormolnar

‘When we travelled to Ecuador, I knew there would be an opportunity to see jumping sticks in the Amazon region. When we found the first of several creatures, I was beyond excited. I had imagined this shot in my mind for a long time and it was incredible to actually have this opportunity to make it happen. The best way to describe these invertebrates is part walking stick part grasshopper! When they jump, they are not particularly graceful, and they tend to tumble around completely off-balance.’

Tibor’s top close-up photography tips:

1. Do your research ahead of time. If you know you will be visiting a particular area, learn what to expect there.
2. Using a flash and diffuser will help you to record all of the striking details.
3. Focus stacking will enable you to get more of the subject sharp.

Winner: Human Made

Asymmetrical Threads by Elizabeth Kazda

Camera: Nikon D850. Lens: Nikkor 24-85mm. ISO: 64. Aperture: f/4.5. Shutter speed: 1/5sec
Accessories: Tripod, remote shutter release, ring light, motorised rotating platform. © Elizabeth Kazda | cupoty.com

Category: Human Made
Nationality: American
Occupation: Artist
Further information: Website: elizabethkazda.myportfolio.com, Instagram: @elizabethkazda, Facebook: beth.kazda

‘I enjoy pushing the limits of my camera’s capabilities and experimenting with new techniques to capture ordinary objects. My collection of art supplies includes numerous spools of coloured thread from previous projects. I wanted to photograph this thread in a unique way and came up with the idea of wrapping coloured strands around an open picture frame. I placed the frame on a motorised rotating platform and set my camera to multiple-exposure mode. I captured 64 photos of the thread at 64 equidistant positions as I rotated the platform. Since I didn’t complete a 360° rotation, the design is asymmetrical. This is a meticulous process that requires patience. For this image, I used an in-camera multiple exposure of 64 frames to output a single Raw file.’

Elizabeth’s top close-up photography tips:

1. Photograph everyday objects in unexpected ways. Try varying the lighting to change the composition.
2. Experiment with the camera’s multiple exposure mode.
3. Learn to work in manual mode for the most creative options.

Winner: Micro

Beach Grass by Gerhard Vlcek

Camera: Nikon Z6 II Lens: Olympus SPlan Apo 10/0.40 microscope objective ISO: 100. Shutter speed: 1/3sec Accessories: Olympus BH-2 microscope
Post processing: Panorama of two pictures stitched together in Lightroom and cropped in the centre to reveal the interesting structures. Basic adjustments in Photoshop. © Gerhard Vlcek | cupoty.com

Category: Micro
Nationality: Austrian
Occupation: Senior project manager
Further information:  Website: www.foto-vision.at, Instagram: @gerhardvlcek, Facebook: FotoVisionat

‘This image shows a 30μm cross-section of beach grass (Ammophila arenaria) stained with Auramin O and Safranin and viewed under fluorescence blue excitation. The grass came from a friend’s garden in Vienna. For the best results I had to slice the sample as thinly as possible. First, I fixed some stems in warm liquid polyethylene glycol. As it cools down, it turns solid, and the embedded stems were placed in a microtome and sliced with a sharp blade. Staining and preparing the sample was very tricky. I had to use the tiniest brush to manipulate the less than 1mm parts in different staining and chemical solutions before positioning the stems on the slide. After that, taking the photograph was the easy part!’

Gerhard’s top close-up photography tips:

1. Find interesting plant structures and use a microtome (cutting tool) to prepare very thin cuts for a sample.
2. Use fluorescent dyes for staining.
3. The better the sample the less time you’ll have to spend in post-production.

Winner: Intimate Landscape

Undertow by Csaba Daróczi

Camera: Nikon Z6 Lens: Nikkor AF-S 16-35mm f/4 ED ISO: 1250 Aperture: f/9 Shutter speed: 1/320sec Accessories: None. © Csaba Daróczi | cupoty.com

Category: Intimate Landscape
Nationality: Hungarian
Occupation: Photographer
Further information: www.daroczicsaba.hu, Instagram: @daroczics

‘In the first days of May, I always return to a small canal near Izsák, Hungary, where the water violet (Hottonia palustris) blooms in huge numbers. Unfortunately, flowering was delayed this year and only the leaves were still underwater. I was about to go home when I saw a tree had fallen over the canal and under its reflection the plants were clearly visible. I found it a very exciting subject and played with it for a while.’

Csaba’s top close-up photography tips:

1. Often picture opportunities present themselves when you’re about to pack up and go home. Stay a little longer and see what arises.
2. Find a location with potential and visit it repeatedly in all weathers.
3. Play close attention to your surroundings – it takes good observational skills to spot a picture like this.

Winner: Plants

Reflexion by Ria Bloemendaal

Camera: Canon EOS 6D Mk II Lens: Canon 70-200mm f/2.8 L IS II USM ISO: 100 Aperture: f/2.8 Shutter speed: 1/400sec Accessories: Tripod Post processing: Basic adjustments in Lightroom, cropped and flipped. © Ria Bloemendaal | cupoty.com

Category: Plants
Nationality: Dutch
Occupation: Retired remedial educationalist
Further information: Website: www.riabloemendaal.nl, Instagram: @riabloemendaal33, Facebook: riabloemendaal

‘I spotted this reflection in the water at Trompenburg Botanical Gardens & Arboretum in Rotterdam, and it instantly inspired me to make an ‘impressionist painting’. I’ve always felt connected to nature, and I use photography to show who I am, what I feel and how I see the world. When I make pictures, I often become completely focused on the subject and can enter a flow state that causes me to forget everything that’s happening around me.’

Ria’s top close-up photography tips:

1. Pay attention to reflections in the water – everything is constantly moving, and new compositions will present themselves every few seconds.
2. Attend workshops and read as much as you can about art and personal expression.
3. Explore your immediate environment before heading further afield – many interesting pictures can be made on your doorstep.

Winner: Underwater

Dreamtime by Simon Theuma

Camera: Nikon D850 Lens: Nikkor 85mm f/2.8G ISO: 64 Aperture: f/14 Shutter speed: 1/200sec
Accessories: Sea & Sea Housing, YS-250 Pro Strobes, INON UCL67 +15 Wet Dioptre (underwater close-up lens), snoot. © Simon Theuma | cupoty.com

Category: Underwater
Nationality: Australian
Occupation: Education trainer
Further information: Website: www.simontheuma.com.au, Instagram: @simontheumaphotography, Facebook: Simon Theuma

‘Like an intricate tapestry of the marine ecosystem, this image captures the relationship between a commensal shrimp and a mosaic sea star. Dreamtime Aboriginal art reminds us of the delicate balance that exists in the grand tapestry of our natural world – this ancient wisdom serves as an important reminder to preserve what we have. To capture this image, I needed to use a snooted strobe, which was set at an acute angle to the subject. This set up accentuated the depth and beautiful texture of the two organisms. Additionally, I enhanced magnification by using a +15 wet lens dioptre.’

Simon’s top close-up photography tips:

1. Start taking pictures from a distance so you don’t disturb the subject, then move gradually closer.
2. Use light creatively to enhance textures.
3. Mastering buoyancy skills is not only crucial for the safety of the diver but also plays a crucial role in preserving marine life and capturing sharp and clear images underwater.

Winner: Young Close-up Photographer of the Year 5

Small Wonders by Carlos Pérez Naval

Camera: Nikon D500 Lens: Nikkor 105mm ISO: 1250 Aperture: f/18 Shutter speed: 1/4sec Accessories: Tripod. © Carlos Pérez Naval | cupoty.com

Category: Young Close-up Photographer of the Year
Nationality: Spanish
Age: 17
Further information: Instagram: @cpereznaval

‘In the wall of some houses in Calamocha – the village in Spain where I live – it’s possible to find pyrolusites. These magnesium minerals create stunning formations, which look just like petrified trees, but they are so small that they’re tricky to spot. One day, I was lucky enough to find a Moorish gecko (Tarentola mauritanica) very close to the pyrolusite’s wall, so I tried to make the most of the encounter. I wanted to capture a gecko in the ‘petrified forest’ for a long time, but they only recently appeared in my village (probably carried in fruit baskets from hotter areas). Due to climate change they can now survive here.’

Carlos’ top close-up photography tips:

1. Beauty is all around us but sometimes we have to really pay attention to find it.
2. Be patient. You might have to wait a long time for a shot you’ve previsualised to come together.
3. Experiment with composition. Break some of the ‘rules’ of photography once in a while!

2nd Place: Fungi & Slime Moulds

Autumn Emergence by Jay Birmingham

Camera: Canon EOS R5 Lens: Sigma 180mm macro f/2.8 ISO: 500 Aperture: f/3.2 Shutter speed: 1/60sec Accessories: Beanbag and small light to fill the shadows at the front. Post processing: Focus stacked using Helicon Focus. Basic adjustments in Lightroom. © Jay Birmingham | cupoty.com

Category: Fungi & Slime Moulds
Nationality: British
Occupation: Teacher
Further information: Website: www.jaybirmingham.com, Instagram: @jaybirminghamphotography, Facebook: Jaybirminghamphotography, Twitter: @Jay_B_Photos

‘I came across some honey fungi in my local woodland, just as the sun was rising and lighting up the woods with golden hues. The bonus was the bracken behind, which gave the picture a wonderfully warm autumnal feel. I used a wide aperture to isolate the fungi and maximise the bokeh in the background.’

Jay’s top close-up photography tips:

1. Use a wide aperture and a long lens to capture some wonderful bokeh.
2. Focus stack to keep as much of the subject in focus as possible, whilst still being able to use a wide aperture.
3. Go out early or just before sunset. Although fungi will be there all day, the light at these times is at its best.

3rd Place: Animals

Natural Architecture by David Joseph

Camera: Olympus OM-D E-M5 II Lens: Olympus M.Zuiko 60mm f/2.8 macro ISO: 200 Aperture: f/11 Shutter speed: 1/1250sec © David Joseph | cupoty.com

Category: Animals
Nationality: Nigerian
Occupation: Student
Further information: Further information: Instagram: @abcdee_david

‘It was probably my first experience with a sac spider, photography wise. The spider had become alert, as my diffuser had touched some nearby grass. I was mad at myself for not taking the shot before the spider was aware of my presence. It was only my second month with a camera, so I was still learning. The few seconds I had with it (after it became alert) made my heart beat fast – I would have been so annoyed if I’d missed the shot.’

David’s top close-up photography tips:

1. Think first, shoot second. It’s important to pre-visualise the end result as you might not have long with the animal.
2. Approach slowly. Spiders are very alert, and you don’t want to disturb one and miss the picture.
3. You may only get one shot. Make it count; focus accurately.

Finalist: Animals

The Banquet by Juan Jesus Gonzalez Ahumada

Camera: Canon EOS R6 Lens: Canon EF 100mm f/2.8L Macro IS USM ISO: 320 Aperture: f/5.6 Shutter speed: 1/80sec Accessories: Ring flash. © Juan Jesus Gonzalez Ahumada | cupoty.com

Category: Animals
Nationality: Spanish
Age: 17
Further information: Instagram: @jjgahumada

‘This image shows the harsh reality of nature, how the death of one can mean life for others. This young sparrow probably fell into the pond on its first flight and drowned, but its death will not be wasted as the tadpoles feed on this unusual offering that fell from the sky. I had to wait patiently for the bird to spin slowly into the right position and reveal its lifeless eye, which gives the picture drama and meaning. It was the middle of summer in Andalusia, and it was a battle to control the unforgiving and difficult light.’

Juan Jesus’s top close-up photography tips:

1. Never touch the water or you’ll frighten the wildlife and disrupt the scene.
2. Cultivate the mindset of always being ready for a photographic opportunity.
3. If you find something as unusual as this it’s easy to forget composition and fire away. Spend a few moments making sure the framing is right.

Related content:

Portrait of Britain 2024 winners announced

Stunning images and video honoured in ViewSonic awards

Best photography competitions to enter this year!

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The post Close-up Photographer of the Year 5 winners announced! Plus, top photo tips appeared first on Amateur Photographer.

What is macro photography?

Macro photography is extreme close-up photography, using a 1:1 macro lens in order to produce images of the subject larger than life size. This means you can see things that you couldn’t normally see with your own eyes, which can be fascinating. The name ‘macro’ comes from lens manufacturers wanting to signify a lens that can make smaller objects appear larger. Most manufacturers will label their lenses as ‘Macro’ but Nikon, just to be different name them ‘Micro’ or MC.

Image credit: Andy Westlake

Can you do macro photography with a phone?

You don’t always need an expensive kit to photograph small subjects, so yes, you can shoot macro photos with your smartphone. These days, most smartphones have a wide angle lens and a macro mode, with the iPhone 14 Pro  even letting you focus as close as 2cm. If you are thinking about upgrading your mobile to a device that handles macro effortlessly read our guide for the best smartphones for macro photography. On the other hand, if you want to invest in a dedicated camera setup read our guide on close-up photography tips and choosing the right kit

Check out the best camera phones for photography for more options.

What are the benefits of macro photography?

Macro photography allows you to get up close to minute subject matters and see them in a different way. There is an abundance of interesting subjects both in nature and manmade environments. You can even shoot macro at home, making everyday objects and the mundane appear extraordinary.

How to shoot macro photos: 15 top macro photography tips

We cover the different types of camera kit you need to take great macro photos, as well as give other solutions for macro photography if you don’t own a dedicated macro lens.

Pro photographer Colin Varndell offers his top macro photography tips…

1. Choose the Best Lens

Taken with OM System M.Zuiko ED 90mm F3.5 Macro IS PRO mounted on an Olympus OM-1. Photo credit: Amy Davies.

The focal length of macro lenses ranges from 50mm to 200mm. Although many zoom lenses boast a macro setting, these are usually less than half life-size magnification – true macro, however, begins with 1:1, with some lenses offering even more.

A 50-60mm lens is suitable for general macro photography work. At a higher price, a 100mm lens will give you a greater subject-to-lens distance.

A 90-105mm macro lens is a popular choice, with many companies offering a lens in this range (or equivalent). You can also look for macro lenses with built-in image stabilisation, as this can help keep your images sharp.

For creatures like butterflies and dragonflies, lens-to-subject distance becomes even more important, so the focal length needs to be greater/longer.

The 150-200mm lens range is the most expensive, but you will appreciate the extra power when stalking flighty subjects like this Gatekeeper butterfly (above). It’ll also allow you more distance from scary subjects like spiders, or skittish ones.

Have a look at our guide to the best value macro lenses and best macro lenses for mirrorless and DSLR for help choosing a lens.

2. Make a Standard Zoom Focus Closer by Adding Tubes

Oedemera Nobilis. Nikon D200, Nikon 18-200mm lens with 20mm extension tube. 1/125sec @ f/11, ISO 400

Extension tubes fit between the rear mount of the lens and the camera body to make the lens focus closer and therefore produce a much bigger image of a small subject.

This image of a thick-legged flower beetle was shot with an 18-200mm zoom lens and a 20mm extension tube added. This is a much cheaper alternative than buying a macro lens, but extension tubes are fiddlier to use in the field.

Also, with an extension tube fitted you lose the infinity end of your focusing range. Add more tubes and this becomes increasingly more limited.

3. Add a Dioptre to Make a Lens Focus Closer

Golden-ringed dragonfly. Panasonic Lumix FZ30 fitted with a Cokin +3 dioptre. 1/250sec @ f/3.6, ISO 200

Close-up filters are single-element lenses that look like magnifying glasses.

These filters screw into the front element thread and can provide an inexpensive alternative to splashing out on a dedicated macro lens.

They come in a variety of strengths that are measured in dioptres. Close-up filters are often available in sets of +1, +2 or +4 dioptre magnification. Dioptres are also available to fit Cokin style square filter systems.

These can be your only option if you’re shooting with a compact camera or ultra-zoom camera, and by adding a dioptre you can achieve real close-up macro photography shots.

The golden ringed dragonfly shown here was shot on a Panasonic Lumix FZ30 ultra-zoom camera with a +3 dioptre added to the front element.

One thing to note, is that these do add additional glass to your camera, which can have a negative effect on image quality. 

4. Use Apertures to Control Depth of Field

The left snowdrop shown here was shot at f/2.8 while the one on the right was taken at f/22

To get the most out of available depth of field, select a small aperture like f/16 or even f/22, although be aware of diffraction, particularly on smaller sensor cameras.

You will find that at half-life size the depth of field you can achieve at f/22 will be only around 15mm at best.

On the other hand, you may wish to go to the other extreme and show as little sharpness as possible by opening up to full aperture like f/2.8 or f/4.

One advantage of the latter option is that any out-of-focus highlights will show as circle-like bubbles that can look very attractive.

To extend the area in focus beyond this, you’ll need to look into focus-stacking, either in-camera (if your camera supports it), or using additional software. This process combines a number of shots taken at different focus points to give additional detail.

5. Blend Flash with Ambient

Sycamore leaf. Nikon D200, Nikon 105mm macro lens. 1/125 (left) & 1/250sec (right) @ f/8, ISO 100

With more static subjects it can be fun to add a blip of flash just to liven up your macro photography.

In this composite shot of a sycamore leaf, both images were exposed for natural light; however, the image on the right was given a blip of off-camera fill-in flash and the shutter speed was increased by one stop in order to darken the background.

This has given a much more colourful image, which is particularly useful when shooting on grey cloudy days.

6. Use a ‘Third Hand’

Third hand macro tool from Hama – search for helping hands on Amazon UK.

A ‘third hand’ or ‘helping hand’ device is an essential macro photography accessory. It will enable you to support or position subjects just where you want them. In turn, it can also help to provide endless possibilities of positioning backgrounds.

This can be particularly useful as it frees up your hands for other things, such as using a reflector to add or direct additional light onto the subject to fill in shadows or boost the colour.

7. Fine-tune Macro Pattern Compositions

Fungi. Nikon D2X Nikon 105mm macro lens. 1/15sec @ f/11, ISO 100

Although we can crop things using software later, it is best to fine-tune composition in-camera at the time of shooting as much as possible.

With close-up pattern details, ensure they fill the frame completely so that there are no gaps around the edges. Alternatively, you can show the entire pattern with space all around it.

These two shots of the same fungus illustrate how these opposite approaches look in practice.

8. Point of Focus

Teasle head (demonstrating point of focus change). Nikon D200, Sigma 150mm macro lens. 1/320sec @ f/5.6, ISO 100

It is essential to consider the actual point of focus when working close-up with tiny subjects. You can dramatically change the appearance by choosing where you focus.

These two shots of the same teasle head were both shot at the same maximum aperture, but the point of focus was changed by a couple of millimetres to produce an entirely different effect.

9. Check the LCD screen

Amethyst Deceiver. Nikon D200, Sigma 150mm lens. 1/13sec @ f/4.2, ISO 100

Use your rear LCD screen to ensure you have got the shot you want before moving on. Look carefully at the corners to make sure there are no intrusions.

Tidy up any unwanted debris in the scene and make sure that your composition concentrates on your subject as intended. It’s also wise to carry a spare battery, as constantly reviewing shots will drain power.

If your camera has a tilting screen, this can be a great help when shooting small low-down objects as you can tilt your screen up to give a better view, without having to crawl on the ground so much.

10. Macro Photography tips: Raindrops

Raindrops on geranium leaf. Nikon D200, Sigma 150mm lens, 1/20sec @ f/16 @ 1/20, ISO 100.

After rainfall is an excellent time to search for macro photography subjects. The presence of droplets can have a spellbinding effect on an image.

Go in close to show how the raindrops act as miniature lenses, magnifying the veins in leaves.

11. Different Backgrounds

White Cherry Blossom. Nikon D200, Nikon 105mm macro lens. 1/10sec @ f/11, ISO 200

Add different coloured backgrounds to macro photography shots to change the look of the subject.

These four backgrounds were all natural subjects but shot deliberately out of focus. Grass was used, and tree foliage and a combination of bushes and sky.

They were printed to A3 on matt paper so there was less risk of reflection when placed behind the subject, especially if a mirror or flashgun was to be used to expose the image.

If you’re not shooting with your own background, it’s important to pay attention to what’s in the background of the image. A subtle change to your camera position can make a big difference to how your image looks.

12. Butterflies

Swallowtail butterfly. Nikon D200, Nikon 105mm macro lens. 1/8sec @ f/2.8, ISO 200

With small but lively subjects like butterflies, it can be difficult getting close enough to them for frame-filling macro photography shots.

Try stalking them later in the day, just as they are about to settle down for the night, as they will be calmer and move less, or see if there’s a local butterfly house where photography is allowed so you can practice your shots.

See our complete guide on how to photography butterflies.

13. Have a look at inspirational macro photographs!

Extreme macro of a fly’s head – Photo: Matt Doogue, see our Top 20 Best Macro and close-up photos!

If you’re looking for more inspiration on taking amazing macro photos, have a look at some of the fantastic macro photos in our round-up of the Top 20 Best Macro and Close-up Photos! Here you’ll find a wide range of create ideas and different views of the smallest of creatures, and plant life. Whether you’re photographing mushrooms, small plant detail, or creepy crawlies, there is something for everyone here.

For more advice on shooting creepy-crawlies, have a read of our macro photography tips for shooting insects – or check out our main macro photography hub to learn even more.

14. Look around you for more macro subjects! (including Lego!)

The 12-45mm F4 PRO lens has an impressive close-focus distance, Lego figure, 1/100s, f/4, ISO200, 45mm, Photo: Joshua Waller

We’ve covered lots of different subjects for macro photography, but if the weather is too cold and grey outside, or you just want to have some fun indoors, then look to small figures, figurines, and Lego for some inspiration! Why not recreate your favourite movie scene, or find the detail in the smallest of objects.

Read our guide to photographing miniatures, figurines and Lego!

15. Think about lighting options

Adaptalux offer unique LED lights that can be used to light small objects with different coloured lighting

As with all types of photography, light plays an essential role in how your photos will look. If you find that your macro photographs regularly lack pop, then the lack could be of light. There are a variety of ways to direct more light to your subjects, either using a simple reflector, or even a piece of A4 paper, to bounce it onto the subject. But if you want to add additional light, then have a look at the Adaptalux Studio Macro LED lighting kit.

Read our beginners how-to guide to macro photography for even more tips.

Dig in deeper to macro photography with our top macro flower photography tips and learn the key to revealing intricate details of tiny subjects with macro photography lighting tips.

Related reading:

• Focus stacking: How to achieve pin sharp macro shots
• Everyday objects as alternative macro subjects
• Top Minimal Macro Tips and Techniques

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Macro photography – what is macro photography?

Macro photography is quite simply extreme close-up photography and is traditionally defined as taking a photograph of a subject in “life-size” so that it is recorded at the same size (or larger) on the camera’s sensor. Once you’ve captured the image, you can then display it larger on-screen or in print.

Macro photography lens – what is a macro lens?

A “true” macro lens is a lens that can offer 1:1 reproduction of the subject on the camera’s sensor. This is sometimes, but not always, referred to as 1x magnification. Some offer further magnification, such as 1.25x magnification with the Olympus 30mm f/3.5 Macro, 1.4x with the Canon RF 100mm F2.8L Macro IS USM lens or 2x with the Laowa 65mm f/2.8 2x Ultra Macro lens.

Macro image captured with a dedicated macro lens, the Canon RF 100mm. Canon EOS R6, 1/1000sec at f/11, ISO 25,600. Photo: Andy Westlake

Did you know? Beyond the standard macro lens, there are specialist macro lenses available, which can offer 1-5x magnification such as the Canon MP-E 65mm f/2.8 1-5x Macro, and Yasuhara Nanoha x5 (Micro Four Thirds). However, these are not for the faint-hearted, as they can only be used for extreme macro photography and can’t be used for general photography.

A dedicated macro lens should offer 1:1 reproduction, but some offer even closer magnification, with this Olympus 30mm Macro, which offers 1.25x magnification

How close can your lens focus?

You’ll find the close-focus distance on the side of most lenses. If it’s not close enough, then you’ll need to look at the options available, whether that’s an extension tube or other accessory, or for the best results, have a look at a dedicated macro lens.

What are “Short”, “Mid”, and “Long” macro lenses?

You may come across this term on the internet, and this is simply to help guide you in the different focal lengths of macro lenses. Here we run through the benefits and potential disadvantages of each type.

• Short: 50-60mm (or equivalent), can be useful where you want to use the lens as an everyday lens as well. Often compact, lightweight, and affordable.
• Mid: 90-120mm (or equivalent), 90mm and 100mm or 105mm are common focal lengths, and very widely available for multiple camera systems. The lens gives a good distance from the subject, as well as a relatively good balance between size and weight. They also make for useful portrait lenses.
• Long: 150/180mm (or equivalent) where you want as much distance from the subject as possible. These lenses are often larger, and more expensive.

Can I use my existing lens as a macro lens?

The short answer is yes you can, but… you might not be able to get close enough to your subject without additional accessories. If you’re on a limited budget, there are a number of options that can help improve your lens’s ability to focus on close subjects. These include extension tubes, close-up filters and reversing rings.

If you’ve used your current lens(es) and can’t get close enough to your subject, then there are a number of relatively wallet-friendly options for those on a budget. These let you use your existing lens for close-up and macro photography, and while your results might not be as bitingly sharp as those from a dedicated lens, they may be good enough for you.

Canon EF 18-55mm lens shows the close-focus distance on the side: 0.28m or 28cm

Some zoom or kit lenses are better than others, and while some do offer a reasonable close-up focus distance, others don’t quite cut it.

You should be able to see the close-up focus distance on the side of your lens, but if not, you can look it up on the manufacturer’s website.

Option 1: Extension tubes

Meike MK-P-AF3A 10mm + 16mm extension tube set

Ensure you get extension tubes with electrical contacts (and AF support) as this will enable autofocus as well as lens settings to be controlled by the camera. Be aware that the cost of these could be put towards a budget macro lens instead. However, you can get a set of budget extension tubes for as little as $28 / £22.

Option 2: Close-up filter

Find out the filter size for your lens, buy a close-up filter (sometimes called a close-up dioptre), screw this on to the front of your lens, and you’ll be able to take photos closer to the subject.

NC Macro Close-Up Lens 58-52-49mm – NiSi UK – NiSi Optics, NiSi Filters

These are available for around $12 / £10, or you can spend up to $84 / £65 on a high-quality filter from NiSi. They can be a fun way to get closer to a subject, but don’t expect perfect image quality from the cheaper filters.

Even buying a budget macro lens will give better results, and a dedicated 1:1 macro lens will get you much closer to true macro photography.

Option 3: Reversing ring

A reversing ring is designed to allow you to completely reverse your lens so that you’re shooting through it backwards. You lose all electrical connection (with most reversing rings), and therefore this works best with manual-focus lenses and those that have a manual aperture ring.

There is the option of a reversing ring with electrical contacts, but these are much more expensive (around $100 / £80), and with macro lenses being available from around $300 / £269 (Panasonic 30mm macro, M43) we’d be tempted to suggest you put your money towards a macro lens.

Macro lenses for beginners

Olympus M.Zuiko ED 30mm f/3.5 Macro

If you’re on a budget, have a look at the options available in our round-up of budget macro lenses, as there are various options available.

Micro Four Thirds users often have a wide choice of budget options, or for other systems, Sigma and Tamron often offer excellent value, and high-quality macro lenses.

There’s also the option of buying second-hand to save even more, with MPB offering a vast range.

Macro photography tips, tricks, and technique

We’ll give some quick tips for macro photography, including some of the most important aspects, including the subject, lighting, focus, and how to stabilise the camera. Plus the photography settings you need to pay attention to when taking macro photos.

Quick Tips for Macro Photography

Once you’ve made sure your camera’s lens is capable of giving you the close-up performance you’re looking for, you can then start shooting! Here are five quick tips for taking great macro photos:

1. Pay attention to the subject – is the flower, insect, or item looking its best?
2. Control the background (where possible) or move to find the best possible background
3. Pay attention to lighting (more on this below) – as we’ve said before, light can make or break a shot
4. Focus where needed – being aware of the depth of field (see below), using a small focus area can help you control precisely what you’re focusing on
5. Use a tripod! Using a tripod can simplify the photo-taking process, you don’t need to worry about camera movement, you can use a slower shutter speed (with a timer), and you can take multiple shots if you want to try focus stacking (see below).

More macro tips here: Top Macro Photography Tips.

Macro photography settings

Note how the depth of field or the amount that is in focus changes as the aperture is altered

Aperture: With close-up photography, the depth of field – that is, the area that is in focus – is considerably narrower than when taking general photos. This makes it important to use a smaller aperture.Try f/8 or f/11, rather than f/1.8.

However, close your aperture too much, and diffraction can set in. As a result, there is always a balance to be struck between sharpness in the image and the amount of the subject that is in focus. This matters much more with a subject that has depth, as opposed to a flat subject, such as a stamp or bank note.

Shutter speed: With non-moving subjects you can use a slower shutter speed than when photographing a moving subject. However, when using slower shutter speeds, make sure you use the self-timer or remote release to avoid camera shake. This is where a tripod (or solid support) becomes essential.

ISO speed: If you’re using a tripod, or have good light, you can use a lower ISO speed. This will help you get a crisper, more detailed image than if you were to use a higher ISO speed. If you have a newer camera, higher ISO speeds produce much better quality images than they used to.

Light: Macro photography lighting

Adaptalux offers unique LED lights that can be used to light small objects with different coloured lighting. Photo: Joshua Waller

Without enough light to illuminate your chosen subject, it’s going to be difficult to get a good shot. With macro photography, this difficulty is compounded as your camera and lens can also block light from getting to the subject if you’re very close to it.

This is where additional lighting comes into play; a neatly positioned reflector, LED light, or other light source can transform a dull photo into a photo that pops.

There are multiple different light options, including reflectors, LED lights, flashguns and even dedicated macro ring lights that attach to the front of your macro lens.

We’d start off with something simple, such as a reflector and some LED lights if needed. As you progress, if you find you need more lighting, then you can invest later.

Now you’ve learnt all the key things you need to know to successfully take macro photographs, you might need some additional inspiration on what to photograph! Here are some great ideas to try. You don’t have to try them all but have a look at what looks like fun to you.

Macro photography ideas and inspiration

Insects

A high ISO speed has helped here, with a smaller aperture, and fast shutter speed – Canon EOS R6, 1/1000sec at f/9, ISO 12,800, hand-held. Photo: Andy Westlake

Intricate and often very beautiful creatures, insects are a great subject for macro photography. There are a number of simple techniques you can follow to help improve the quality of your work, as Andrew McCarthy explains in this article.

Read our in-depth tips on macro insect photography

Food and fruit

Kiwi Fruit – Laowa 65mm f/2.8 2x Ultra Macro, Fujifilm X-T3, 1/40sec at f/5.6, ISO 160

Macro food photography is a great way to present the beauty and detail of your food. It can also be a lot of fun! You’ll find some macro food photography tips here.

Macro flowers

Anemone macro. Photo: Sue Bishop

Why take a boring, simple photo of a flower when you can capture a stunning image that is large enough to print and hang on a wall? Read up on all of Sue Bishop’s Top macro flower photography tips.

Fungi

Fungi can make for an impressive macro subject! Photo: Guy Edwardes

If you love to wander around and get your hands dirty, fungi macro photography could be an interesting subject to explore. Read Guy Edwardes guide to Fungi photography.

Products (including cameras, lenses, and watches)

The lens elements on this lens look very clean, and a few specks of dust are nothing to worry about. Photo: Joshua Waller

Shoot what you have around you, and if you want more guidance on shooting products have a look at our guide to shooting products for eBay.

Find more inspiration here: Expert tips for award-winning macro shots

Frequently asked questions (FAQs):

What is diffraction? Diffraction is to do with the laws of physics when it comes to light travelling through a lens and can result in a softer image when smaller apertures are used.

This is particularly noticeable when using smaller apertures for macro photography, as smaller apertures give a greater depth of field, resulting in an image with more of the subject in focus.

Some camera systems, such as Fujifilm’s X-series, offer diffraction compensation to help maintain a sharper image even when using small apertures. It’s also worth noting that the point at which this starts to become an issue varies according to the sensor size, whether that’s Micro Four Thirds, APS-C, or full frame.

What is focus stacking? Focus stacking is a great solution to the problem of diffraction. Using this technique, it’s possible to shoot a sequence of images at different focus distances and then use software (on a computer) to blend the sharp areas together into a single file with greater depth of field and improved image quality. Read our complete guide to focus stacking if you want to know more.

The AP Improve Your Photography Series – in partnership with MPB – is designed to take you from the beginning, introduce different shooting skills and styles, and teach you how to grow as a photographer, so you can enjoy producing amazing photography (and video), to take you to the next level, whether that’s making money or simply mastering your art form. Have a look at further articles in this series.

• Part 1: Beginners guide to different camera types.
• Part 2: Beginners guide to different lens types.
• Part 3: Beginners guide to using a camera taking photos.
• Part 4: Beginners guide to Exposure, aperture, shutter, ISO, and metering.
• Part 5: Understanding white balance settings and colour
• Part 6: 10 essential cameras accessories for beginners
• Part 7: Beginners guide to the Art of photography and composition
• Part 8: Beginners guide to Photoshop Elements and editing photos
• Part 9: Beginners guide to Portrait Photography

Find the latest Improve Your Photography articles here.

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“True greatness consists in being great in little things” (Charles Simmons)

What I love about this type of photography is the control over the outcome afforded to the photographer – from background choices to object position to lighting. Nothing is left to chance or circumstance as it is in other subject genres. The environment is at the command of the photographer, which really allows for creativity and expression.

Before we begin: jewellery or jewelry? This depends where you are. The first spelling is British and the other American. Writing this in the UK, I’ll use the British!

Get creative when photographing jewellery from using bright colours to bringing in props. Jewellery by Lawrence Gibson. Supplied for the photo shoot by Little Blue Budgie. Photo copyright: Claire Gillo

What kit do I need for jewellery photography?

Firstly – to remove a common perception – you don’t need expensive, fancy studio kit for impressive results in this genre. For all the images featured in this article I had to hand the following in my home DIY kit:

• Camera – with an interchangeable lens system, such as a mirrorless camera.
• Lights – two external flashguns (for the majority of my setups, however,  I used just one light).
• Tripod – A tripod helps you slow down and create the perfect composition as the result can be tweaked until everything sits in the frame perfectly (as you see it!).
• Lens – I used my Tokina 100mm f/2.8 Macro lens. Ideally, use a macro lens that can capture subjects at a 1:1 ratio. There are alternative cheaper options (see tip below).
• Backgrounds – A variety of coloured paper.
• Jewellery – Much of the jewellery featured in this feature was supplied by Little Blue Budgie.
• Additional props – Use additional props such as sweets, flowers and Lego to bring extra colour and areas of interest in the frame.
• Blu Tack – Great for keeping small objects like jewellery propped up!

A simple setup can be achieved on a small budget using minimal kit. Photo copyright: Claire Gillo

On a budget?

There are plenty of ways to keep cost down for those on a budget. A simple and effective setup for beginners is to use natural light if lacking an external flashgun, for example. Set your objects up in front of a large window and use a piece of tinfoil or reflector to bounce the light back into the shadows.

For the next level quality you will need an external flashgun. I used two on my photo shoot, though one will do. Flashguns can be expensive, but needn’t be – my Nissin Di700A was purchased second hand for under £80 ($100) – brand new they cost around £200 ($250), including the trigger. Alternatively look at any budget flashgun/s. It doesn’t need to perform fancy tricks – as long as it can be fired in the manual mode.

To create a simple yet effective setup shoot using one or two external flashguns for professional results. Photo copyright: Claire Gillo

The right lens

It’s best to photograph small objects using a macro lens with a reproduction ratio of 1:1. That way you can capture the fine detail and get in close. We took all of our images using an affordable Tokina Macro 100mm f/2.8. However, if this type of lens is out of your budget (look around the second hand market too) then an extension tube with a standard lens is a viable option. Extension tubes work by being mounted between the camera body and lens to create more distance between the lens and image sensor. By increasing the distance your lens is forced to focus closer than it normally would be able to. Extension tubes can be bought for as little as £20 and go up to around £200, depending on quality. If this beyond your means, make your own at home. See our DIY hack for more information.

Shooting with a lens that is capable of capturing objects at a 1:1 ratio will get you close into the scene. Photo copyright: Claire Gillo

Shooting jewellery tips

What camera settings do I need? Camera setup:

If you are shooting using flash, put your camera into the Manual mode. I always start by setting my ISO at 100 and the Shutter Speed to 1/200 sec to sync with the flashlight. I then adjust the Aperture and control the flash strength to balance the exposure. Usually I aim to have the Aperture around f/8 to f/11.

If you are shooting using natural light then I find it easiest to shoot in either the Manual or Aperture priority mode. Set the ISO low to 100 and aperture around f/11. I’d recommend mounting your camera on a tripod to help create the perfect composition (see tripod tip below), so it doesn’t matter what the Shutter Speed setting is reading.

Setting up your flash

Set your flash to fire in the manual mode as this is the easiest way to control the output. Your flash at full power will fire at the 1/1 setting. If you want less light, simply turn down the output to the next stop which is 1/2 power. Each time you turn the power down you are halving the amount of light being fired. Your flashgun will go as low as 1/128 power.

You may find even at the lowest setting the light is still too bright due to the close proximity of everything. If this is the case either move your light source further away from your setup, shut the aperture setting down, turn your ISO down, or diffuse the light somehow.

Bounce the light

A neat trick for a clean soft light is to bounce the flash. Simply point the flash at the ceiling so as to let the light fall back over the subject. When bouncing the flash remember the light needs to travel further compared with being directly pointed so you will need to increase the power – how much depends on your ceiling height so you’ll need to experiment here.

Bounce light, Photo copyright: Claire Gillo

Using a tripod

A tripod will greatly help you achieve the perfect composition. There are many different angles from which to shoot jewellery, but an effective way that always works for me is the bird’s eye view. I first set up my camera on a tripod and point the lens down. Then I bring in the background and objects, building the scene as I go. Liveview is really useful for this. I keep checking and tweaking the composition until I am happy with how it is working.

Composition – Photo copyright: Claire Gillo

There’s too much blur

When photographing an object close up, even when you stop down the aperture, the depth of field you can work with is much smaller. This means that, even when shooting at f/8 or f/11 – which in a landscape setting would sharpen the whole scene –  there is still a lot of blur close up. The way around this is to either: shoot the object flat on, so the whole object is on the same aperture plane, and use the blurred effect to advantage and purposely play around with it: or use a technique called focus stacking. Focus stacking is where you take many different shots of the same scene, but shifting the focus across as you shoot; then combine multiple frames together. To learn more about this technique, follow Geraint Radford’s guide to focus stacking.

In this example the foreground and background blur adds to the final effect of the image. Photo copyright: Claire Gillo

Creative jewellery ideas…

Sweets and bright colours

For inspiration, let the object you are photographing find it for you! I bought a packet of “Smarties” (“Rockets” to US readers?!) as I thought it could be interesting to play around with the dots of colour. As the jewellery I was photographing was orange and blue I picked out these colour sweets and matched the background setting to them. Finally teamed with a soft bounced flashlight the end result is bold and fun.

Get creative and bring in additional props such as candy will help brighten up your picture. Use sweets or other brightly coloured objects to create a bold and fun result. Jewellery by Lawrence Gibson. Supplied for the photo shoot by Little Blue Budgie. Photo copyright: Claire Gillo

Lego fun

The techniques in this feature work the same with any type of small object of interest. Here I have raided my kids Lego set and I’ve created this fun result. I did so by using a single flashgun and bounced the light.

Find fun and creative ways to photograph lego or other small objects. Photo copyright: Claire Gillo

Out of this world

These Lulu McQueen space earrings were so much fun to shoot, and when I saw the planet style designs I instantly wanted to create a solar system effect. I used smaller earring studs (also designed by the jeweller) in the foreground and background of the frame and intentionally blurred them out by shooting with a shallow depth of field to create the pings of round blurred light. To light the earring, I used a single flashgun and pointed it from the side and behind the main subject. I then had a bit of Photoshop fun adding the lens flare and a few more stars to the solar system using the paint brush tool.

A solar system effect created using a touch of Photoshop and a simple setup. Jewellery by Lulu McQueen. Supplied for the photo shoot by Little Blue Budgie. Photo copyright: Claire Gillo

Here’s another setup of the space earrings using a piece of Perspex with an image of a dark blue starry sky slotted underneath. The earrings were lit from the side to create a more dramatic and moody effect.

Use perspex to create an interesting reflection. Jewellery by Lulu McQueen. Supplied for the photo shoot by Little Blue Budgie. Photo copyright: Claire Gillo

Jewellery out on location

Shooting jewellery doesn’t isn’t restricted to a controlled indoor environment – there are many different and creative ways you can capture it on location. For example, the crab pots in my local town made the perfect backdrop for this necklace. This image was shot using natural light and a shallow depth of field at f/2.8. The wide aperture setting softens the crab pot in the background to make the necklace stand out.

Crab pots along the seafront in Dartmouth make an excellent setting. Jewellery supplied by 11 Clothing. Photo copyright: Claire Gillo

Editing jewellery – the final touches

When it comes to editing your images, you will need to make some basic adjustments for your final results to really ping. I always shoot in Raw as this gives more flexibility and options at the editing stage. I would recommend you do the same unless you don’t intend to edit your images post-production: then I would suggest shooting Jpeg, and ensure you get the exposure and camera settings spot on!

There are many image editing programs out there that all perform similar tasks. I use the Adobe photography package that consists of Lightroom Classic, Lightroom and Photoshop. To make tonal and exposure adjustments I use Lightroom Classic or to do further creative effects I use Photoshop. Alternative software such as Affinity Photo and even the free software such as Nikon’s NX Studio and Canon’s Digital Photo Professional (DPP) are more than capable of doing the job as well.

As a basic starting point, tweak or correct these settings to make your image pop.

• Exposure – is your image exposed correctly? If it’s too dark, push the slider up or, if too light, bring it down.
• White Balance – make sure the white balance in your image is correct. Select a neutral tone in the image or use a grey card to get it right.
• Highlights, Shadows, Blacks and Whites – Use these to boost the tone and contrast of your image.
• Curve Tone – again useful for boosting the overall tone and contrast of your image.
• Sharpening – tweak the sharpening so your object appears crisp in the frame.
• Clone and Heal tools – Finally when shooting close up you often capture unwanted specks of dirt and dust. Remove these using the Clone tool or Spot Healing brush.

Make basic tweaks and adjustments to make your jewellery images ping from the page. Photo copyright: Claire Gillo

Article Claire Gillo, all images in feature Copyright to Claire Gillo

Further reading:

• Top Macro Photography Tips
• Best free photo editing software for PC/Mac and mobile
• Best value macro lenses available to buy

This article is part of the AP Improve Your Photography Series – in partnership with MPB. Find more Improve Your Photography articles here.

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Every autumn I lie on my belly in piles of decaying leaves and observe the world around me. Call me strange, but to my mind there’s nothing better than adopting a worm’s-eye view and breathing in the heady scent of a forest regenerating itself.

If you lay still the forest will reveal its secrets. A twitch of leaves betrays a squirrel hoarding acorn. The missing chunk of a mushroom suggests a deer has passed by. A rotting tree stump shows itself as a bug hotel. The closer you look, and the stiller you become, the more you see. For more than a decade I have captured this magical world through my camera, using close-up and macro photography to explore details that are usually hidden from view.

The closer you look and the stiller you become, the more you see. This lichen was growing on top of a fence post. Canon EOS 10D, 105mm, 1/60sec at f/4.5, ISO 400, tripod. Credit: Tracy Calder

Of course, lying on the ground when it’s damp and littered with poo (I live near the New Forest where ponies, deer and donkeys roam and relieve themselves, freely) can be very unpleasant if you’re ill-equipped, which is why one of the first things I pack in my kit bag is a pair of waterproof trousers. I team these with a waterproof jacket and a pair of sporting gloves (these are breathable with excellent grip).

When space allows, I pop a mushroom ID guide into my pocket. Having watched a rather disturbing episode of Midsomer Murders back in the noughties I’m not brave enough to forage for mushrooms, but I like to identify each variety for caption purposes. It’s much easier to identify fungi ‘in the field’ rather than when you get home as it allows you to use the environment to draw conclusions. The fly agaric mushroom, for instance, is usually found under birch trees.

How to get great Autumn macro photos

Study the subject for your Autumn macro shot

Once I have located a photogenic specimen I study it from every angle. One of the joys of shooting small subjects is that you can often look down on them, as well as up under them.

At this point I inspect the subject for any tears or blemishes – what looks like a tiny mark to the naked eye will appear magnified and hugely distracting in the final picture. When I have settled on a pleasing composition I check the background for potential distractions. If there are stray blades of grass, leaves or twigs I do some gentle ‘gardening’.

When the wind speed rises above 10mph it’s often better to focus on stationary subjects such as bark, rather than leaves and flowers. Fujifilm X-Pro1, 60mm, 1/50sec at f/8, ISO 1250, tripod. Credit: Tracy Calder.

The tools of my trade are smaller than the average spade and trowel – I use tweezers to remove errant leaves, nail scissors to trim grass, and a paintbrush to remove dirt.

If there are bigger distractions in the background (i.e. a plant stem or sizeable twig) I hold them out of the frame using something called a Wimberley Plamp. This strange-looking device is essentially a moveable arm with a large clamp on one end, which can be clipped to your tripod, and a smaller one on the other end, which can be used for holding a plant stem, leaf, petal, or even a diffuser or reflector.

If you’re shooting leaves or other windblown subjects, the Plamp can sometimes be used to hold them steady, but if the wind speed rises above 10mph you’re better o concentrating on static subjects such as bark or fungi. Alternatively, you could take a selection of leaves home and tape them to a window to create some lovely backlighting. When you’ve found a subject that’s likely to stay put you need to make sure that your camera is nice and steady too.

Generally speaking, the closer your camera (or to be more accurate, the sensor inside your camera) is to the subject the shallower the depth of field. This often means using small apertures and slow shutter speeds to maximise sharpness. When you’re using slow shutter speeds camera shake is a risk, so a tripod is essential.

I mostly shoot close to the ground so a tripod with a central column that can be used in the horizontal position is invaluable. When my subject is just inches from the forest floor I prefer to use a beanbag.

The closer your camera (or to be more accurate, the sensor inside your camera) is to the subject, the shallower the depth of field. Canon EOS 10D, 105mm, 1/90sec at f/4.5, ISO 200, beanbag. Credit: Tracy Calder

Refine the composition of your Autumn macro shot

With the camera attached to a tripod, the subject steady, and the ‘gardening’ complete I turn my attention to refining my composition. At this point it’s worth remembering that all the standard ‘rules’ of composition still apply. While you might be working with subjects just centimetres in length you can still use the rule of thirds, lead-in lines, and different blends of positive and negative space to achieve a balanced image.

I use live view for composing as it allows me to magnify an area of the frame and move it around checking all of the edges for potential distractions.

My current camera is a Fujifilm X-T2. Although most of the pictures here were taken with a Canon EOS 40D and Sigma 105mm f/2.8 Macro lens, which I still use regularly. So in theory I could use the viewfinder to move the magnified area. But as I use my left eye to compose, the joystick falls too close to my nose, so I use the LCD monitor.

Using the LCD monitor will help you to fine-tune the focus, too. While AF is perfect for general photography, I always use manual focus for close-up and macro work. The X-T2 has various MF Assist modes, but I usually ignore these and use the Focus Check feature instead. With the camera in manual focus mode and Focus Check turned on, the display will zoom in on the focus area as soon as the focus ring is turned, allowing me to make adjustments.

When depth of field is limited to just a few millimetres, accurate focusing is crucial, so explore the options available to you. When I use the X-T2 I usually team it with a Fujinon XF 60mm f/2.4 macro lens. (I’m saving my pennies for the XF 80mm f/2.8 LM OIS WR macro – $1,199 / £1,149 for a lens without an all-metal barrel, seriously?)

The 60mm only allows magnifications of up to 0.5x (half life-size) without an extension tube (see kit list below), which can sometimes be frustrating; so I often find myself switching to the Canon DSLR and Sigma lens, which allows 1x magnifications (life-size).

With so much colour around during autumn it’s easy to forget that black & white (or in this case, sepia) can also be effective. Nikon 1 J1, 10-30mm lens, 1/60sec at f/4, ISO 320, tripod. Credit: Tracy Calder

What are some budget alternatives to macro lenses?

If you’re just starting out with close-up photography, and you’re not sure if you want to invest in a macro lens, there are some inexpensive alternatives in the form of extension tubes, close-up attachment lenses, bellows and reversing rings.

1. Extension tubes fit between the lens and the camera body and work by increasing the distance between the focal plane (sensor) and the rear of the lens, reducing the minimum focusing distance.
2. Close-up attachment lenses (or diopters) screw to the front of the lens and also reduce the minimum focusing distance. Bellows fit between the lens and the camera, and work in much the same way as extension tubes, but with greater flexibility.
3. Finally, reversing rings enable you to mount a lens on the camera back-to-front. As a result, the lens will focus much closer to the subject.

All of these alternatives have their downsides, so make sure that you are aware of the negatives before you splash out. Regardless of the technology you use, the best way to improve your close-up and macro photography is to slow down. The more you look, the more you will see. Autumn is a time for introspection, reflection and renewal, so lie down on the leaves and drink it all in.

Want to know what the best lenses are for macro photography? See the best value macro lenses and best Macro Lenses for Mirrorless and DSLRs here.

Tracy’s top tips and techniques for Autumn macro photos

1. Try black & white

Credit: Tracy Calder

When you’re surrounded by rich autumn colour it’s easy to overlook the skeletal shapes of trees and leaves, but these can make eye-catching subjects. Set your image quality to raw + JPEG and experiment with monochrome settings. For the best results, process the raw file later.

2. Check the edges

Credit: Tracy Calder

Grass, twigs and leaves can sneak into the frame when you’re concentrating on the main subject. Most of the time you can crop these out later, but it’s good practice to get things right in-camera. Use live view and magnify the focus area. Now pan around the frame, paying particular attention to the edges.

3. Monitor wind speed

Credit: Tracy Calder

When wind speeds rise above 10mph, leaves and flowers tend to leap about. At times like this you can focus on stationary subjects, such as bark. Or experiment with creative blur using slow shutter speeds. Alternatively, find ways to keep your subject still – experiment with canes, clips, floristry wire and windbreaks.

4. Follow the rules

Credit: Tracy Calder

The basic ‘rules’ of composition, such as directing the eye using lead-in lines, positioning key elements according to the rule of thirds, and KISS (keep it simple, stupid), still apply to close-up photography. Think about what attracted you to a subject in the first place and try to emphasise this.

5. Think about the negative

Credit: Tracy Calder

The area of the frame that contains the main subject is ‘positive’ space. While the area surrounding it is referred to as ‘negative’ space. Always ask yourself how these spaces relate to one another, and what happens if one dominates the other.

Top spots for autumn macro photography

New Forest National Park, Hampshire

Thanks to the high concentration of ancient trees, the New Forest is one of the most important areas in Britain and Europe for lichens, beetles, bats and fungi. You can see autumn colours all over, but Rhinefield Ornamental Drive, Bolderwood and Eyeworth Pond are particularly photogenic. Visit www.newforestnpa.gov.uk

Westonbirt National Arboretum, Gloucestershire

In the 1820s Robert Holford, a landowner and keen gardener, began planting trees at his country retreat. His desire to create the best arboretum in England was shared by his son, and the family was soon hosting ‘colour picnics’ beneath the Japanese maples in autumn. Follow the Silk Wood Trail to view the spectacle from the treetop walkway. Visit www.forestry.gov.uk/westonbirt

Dawyck Botanic Garden, Royal Botanic Garden Edinburgh

Home to one of Scotland’s finest tree collections, Dawyck Botanic Garden houses specimens dating to 1680. During autumn the maples, rowans, beech spindle trees and the wonderfully named candyfloss tree form a rich tapestry of reds, golds and browns, which have a lot of fantastic autumn macro photo potential. Visit www.rbge.org.uk/visit/dawyck-botanic-garden

Take a mushroom ID guide for identification. Credit: Tracy Calder

Wye Valley and the Forest of Dean

The Wye Valley supports a wide range of habitats including limestone cliffs, heathland and dense native woodland. During autumn a trip to the Forest of Dean is a must, with stunning views across the River Wye from Symonds Yat Rock. Visit www.wyedeantourism.co.uk

Grizedale Forest, Cumbria

In 2017 the Lake District was awarded World Heritage status. Grizedale Forest lies at its heart, sitting between the lakes of Coniston and Windermere. Take the Tarn Trail climbing eastwards out of the valley to reach the only natural tarn in the forest. Visit www.forestry.gov.uk/grizedale

Kit list for autumn macro photography

Light source

A portable LED light (like the Manfrotto Lumimuse 3) is ideal for lifting shadows under mushrooms and backlighting leaves and insect wings. As it’s a continuous light source you can see the effects before releasing the shutter.

Macro lens

When purchasing a macro lens consider the maximum magnification it can achieve (e.g. life-size, half life-size). Plus, the minimum focusing distance (how close you can get to the subject before focusing becomes impossible).

Waterproofs

Waterproof trousers are a must when shooting fungi or leaf details. Over the years I’ve used bin bags, ground mats and picnic rugs. But you can’t beat a pair of waterproof strides. I favour the Women’s Cascada II Trousers from Páramo.

Beanbag

A beanbag can be purchased filled or unfilled, with lining or without. Wildlife Watching Supplies has a good range. You can fill a bag with dried beans, rice or corn, but if you want to avoid the contents rotting then opt for plastic pellets.

Tripod

At high magnifications, any movement can cause image blur. So keep everything steady with a tripod and clamp or ‘plamp’ clipped to a leg. I use a plamp for holding plant stems and keeping distracting foliage out of the frame.

Tracy Calder has more than 20 years of experience in the photo magazine industry. She is the author of Close-up & Macro Photography, which has been reprinted numerous times, and is the co-founder of Close-up Photographer of the Year. Visit www.cupoty.com.

Featured image: Tracy Calder

Need further macro photography guidance?

Check out our top macro flower photography tips.

We also share how to get your best ever autumn landscapes and great autumn wildlife shots.

Plus, why not try macro photography on your smartphone?

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Geraint Radford explains Focus Stacking

Geraint Radford

Geraint is an Olympus ambassador with a love for macro photography. He hopes that his images may inspire others to care for insects. He regularly posts videos and tips on Instagram. Find him at @geraintradfordmacro

Macro photography lets us explore the magical world of mini beasts, flora and fauna. I love to photograph live wild insects, yet discourage the use of any practices that could harm these tiny important beings. When working close to our subjects, the depth of field reduces considerably. The smaller apertures needed to achieve extra depth of field can impact picture quality through diffraction and reduce the faster shutter speeds we need to maintain image sharpness.

What is focus stacking?

Focus stacking is a great solution to this dilemma. Using this technique, we can shoot a sequence of images at different focusing distances and use software to blend the sharp areas together into a single file with greater depth of field and better image quality.

By focus stacking, we can use wider apertures with lower ISO numbers to maintain a decent shutter speed. Sounds perfect, but there are a few caveats. For a successful stack, exposure must be consistent and neither we nor the subject can move. Photographing living beings means we won’t have the opportunity to shoot hundreds of frames. The keep rate can be low, but thankfully there are some things we can do that will increase our odds of success.

Focus stacking enables us to produce high-quality images with a greater depth of field. Olympus E-M1X, 60mm, Viltrox Extension Tubes, 1/160sec at f/5, ISO 200. Photo: Geraint Radford

Dawn and dusk are ideal shooting times as the cooler temperatures make creatures easier to approach and they’re less likely to move. Stability is key to successful stacking. My camera has seven stops of in-camera stability, enabling me to shoot handheld. A ground-level tripod may be useful, while a centre column that tilts horizontally will stop the tripod legs from getting in your way. Diffused flash will give us complete control of our lighting and help reduce camera shake, especially when shooting handheld. My flash and 30cm diffuser is mounted directly above my lens pointing downwards to achieve soft lighting and nice shadows. This also avoids the light shining directly into the eyes of my subjects.

Geraint’s focus stacking kit list

Macro lens

Macro lenses are my favourite invention! Being designed especially for close-up work, they will achieve 1:1 magnification. The longer the focal length, the further from our subject we can be and still achieve maximum magnification. I would recommend at least 90mm for insect photography.

Extension tubes

These work by increasing the distance between the lens and the camera sensor, so we can focus much closer. The downside is that working distance is reduced, and this in turn reduces the depth of field. Ambient light is also lessened, so a combination of artificial light and focus stacking will give great results.

Flash and diffuser

A great flashgun with a speedy recycling time will be your best friend when shooting macro images handheld. Good diffusion will help with controlling the highlights created by the shiny exoskeletons of our bug buddies.

Diffused flash will help reduce camera shake. Olympus E-M1 Mark II, 60mm, Viltrox Extension Tubes, 1/250sec at f/5, ISO 400. Photo: Geraint Radford

How to use focus stacking

First image in the stack

Last image of stack

The depth of field is very shallow in this image and we need more to show this beautiful creature in all its glory. With two sets of extension tubes attached to my 60mm (120mm equivalent) macro lens, an aperture of f/5.6 is the limit before diffraction sets in.

Focusing is achieved manually by composing the shot and then moving the camera towards the subject. Make small adjustments to ensure each image overlaps properly. Using the rule of thirds grid in our viewfinder helps visual alignment. Use them as crosshairs to make sure the focal point remains the same in each picture.

Stacked image

Essential software

There is a good choice of dedicated focus-stacking software available, but Zerene Stacker and Helicon Focus are very popular. Adobe Photoshop does a good job for small image stacks and it’s a great starting point. For the image above, I blended eight images in Photoshop. The fine details and raindrops, which were obscured by the shallow of depth of field, are now magically revealed. On a side note, I was absolutely drenched getting this shot.

Barry Webb on using Focus stacking in slime mould macro photography

Barry Webb

Barry Webb specialises in macro photography and is a regular contributor to Chalfonts and Gerrards Cross Camera Club. He gives presentations and leads practical workshops. Visit www.barrywebbimages.co.uk, @barrywebbimages.

Macro photography and particularly focus stacking enables you to see intricate details of tiny subjects. I have been taking macro images of insects, plants and fungi for many years, using a full-frame camera with a 90mm macro lens. I started focus stacking five years ago, using a manual-focus rail to allow fine incremental adjustments between shots.

Practically, the addition of a focus rail made my equipment heavier and more cumbersome. Focusing with a focus rail was time-consuming and made it difficult to manoeuvre into restricted positions.

I can take anywhere between 30 and 150 shots for my stacks. Olympus E-M1 Mark II, 60mm, Kenko extension tubes, 1/10sec at f/3.5, ISO 200. Photo: Barry Webb

After much deliberation, I decided to try using a Micro Four Thirds system with a 60mm macro lens. I was amazed at the difference it made. The compact and lightweight setup was a pleasure to use. Additionally, the increased magnification of the Micro Four Thirds sensor and fast, accurate, in-camera focus bracketing meant that I no longer needed to use a focus rail.

I now use this system exclusively for focus stacking. I also often use between one and three extension tubes and, on occasions, a Raynox close-up lens. This has allowed me to explore, and become fascinated by, the tiny, beautiful and most unlikely of subjects – slime moulds.

Barry’s focus stacking kit

Lens and extension tubes

The Olympus M.Zuiko Digital ED 60mm f/2.8 Macro lens is very small and light yet extremely sharp. It has a useful focus selector that enables you to select true 1:1 with the flick of a switch. I also use the Kenko Auto Extension Tube Set DG for Micro Four Thirds lenses (10mm and 16mm). These tubes maintain TTL exposure with the 60mm Macro lens and they allow the lens to focus closer and provide more magnification.

Tripod

Focus-stacked images require a stable and manoeuvrable tripod that can get right down to ground level. I use the Gitzo Explorer GT 2531. The separate leg locking levers mean that each leg can be positioned independently, at any angle.

LED Hand lens

I use a Triplet Loupe Hand Lens 10x21mm that has built-in LEDs in a ring around the lens. It allows you to observe fine details in low-light conditions: vital for good composition.

After locating my subject, a 10x loupe helps with composition. Olympus E-M1 Mark II, 60mm, Kenko extension tubes, 1/2sec at f/3.5, ISO 200. Photo: Barry Webb

Barry’s top tips for capturing slime moulds 

Composition

Once I have found my subject, I use a 10x loupe to help me work out the best composition. The camera is manually focused and the lens is set to 1:1 as a starting point. The tripod legs are adjusted to the optimum position and the tripod is then physically moved until the point of nearest focus is located. The number of shots and the size of the differential between shots will vary according to the depth of the subject and the number of extension tubes being used. Generally, for slime moulds, I take between 30 and 150 shots. An ISO of 100 or 200 is ideal, as is a relatively wide aperture, at the macro lens’s sweet spot.

Light

I prefer to work in natural light whenever possible. Soft light, cloudy conditions or hazy sunlight all give good results, while changing light causes problems during a focus bracket. In bright sunlight, it is usually necessary to shade the subject as direct sunlight causes specular highlights, particularly on wet or reflective surfaces. A small LED light with a diffuser can be useful as fill lighting when shooting subjects on the underside of logs or in areas of deep shade.

Natural light is preferable – ideally soft, hazy conditions for consistency in lighting. Olympus E-M1 Mark II, 60mm, Kenko extension tubes, 1/15sec at f/3.5, ISO 200. Photo: Barry Webb

Movement

A reliable tripod and a shutter release are both essential for shooting multi-bracketed shots. The slightest movement at high magnification will ruin a stack. Wind is a real problem
and even someone walking nearby can cause ground movement. Small creatures such as springtails can pass through your frame unnoticed. This can cause problems in post processing.

Processing

I download the bracketed series to Lightroom, select them all and make basic adjustments to the exposure and white balance. The images are then exported to Zerene Stacker for stacking and retouching. The saved output image is then synchronised back into Lightroom, where I make any final adjustments. Occasionally, I import the image into Photoshop to repair any areas that could not be retouched successfully in Zerene Stacker.

Matt Doogue on close-up insect photography

Matt Doogue

Award-winning photographer Matt Doogue is a passionate conservationist, tour leader, public speaker, outreach teacher and mental health ambassador. Matt’s work has been published in most of the UK’s leading photographic titles, and has appeared on TV shows such as BBC’s Springwatch alongside Chris Packham. In his spare time, he regularly visits schools to educate children on the importance of our natural world. Visit www.mattsmacro.co.uk

Macro photography is a popular genre among photographers, and is one of the most rewarding. Subjects can be found anywhere from inside our own homes, gardens and of course, the great outdoors. Using a macro lens allows you access to a hidden world the human eye never sees, a world full of detail, colour and design. I have been a macro photographer for several years now and I’m still learning.

Stacked shot of Praying mantis.  Canon EOS 6D, MP-E65mm, 1/160sec at f/9, ISO 320. Photo: Matt Doogue

When photographing at high magnification with a macro lens, depth of field becomes very narrow, leaving much of the subject out of focus. We can increase our depth of field but this limits our light, so naturally we increase ISO but that just adds unnecessary noise. At high magnification, the increase of these two factors can actually leave your image looking less sharp due to the softening effects of diffraction. However, there is a solution, and that is focus stacking. While it’s one of the more challenging techniques of macro photography to master, it can yield great results if done correctly.

Stacked portrait of a ruby-tailed wasp. Canon EOS 6D, MP-E65mm, 1/160sec at f/9, ISO 320. Photo: Matt Doogue

Matt’s focus stacking kit list

Lens choice

My go-to lens is the Canon MPE 65mm, this allows me to achieve up to 5x magnification. I also use the Canon 100mm f/2.8 Macro or the Sigma 180mm f/2.8 Macro. I use these when shooting larger subjects such as butterflies, dragonflies or even reptiles.

Flash system

I use the Canon MT24 EX dual flash coupled with the MPE 65mm. When shooting at high magnification, the flash really helps. It’s the perfect combination of kit for this type of shooting.

Solitary Bee peeping from inside a rose. Canon EOS 6D, MP-E65mm, 1/180sec at f/4, ISO 100. Photo: Matt Doogue

Matt’s top tips for handheld focus stacking

1. Focus stacking is simply the process of moving the point of focus over your subject in very small increments and taking a photo at each of those points. I set the desired magnification on my lens and turn off autofocus.
2. It’s essential you don’t change this while attempting a ‘stack’ and make sure you have consistent exposure settings that are correct for the scene. I shoot with everything in manual: aperture, shutter speed, ISO and flash power.
3. The sharpest point of most lenses, known as the sweet spot, is around f/8 to f/9, however when it comes to focus stacking, we can drop that to anywhere between f/2.8-f/5.6. This will give us a sharper final stacked image.
4. Setting a wider aperture will also allow more light into the lens, which enables us to lower the flash power for faster flash recycle times. This is crucial in order to maintain a quick firing rate.
5. The flash also increases valuable light levels within the scene and can help freeze any subject movement in the frame. You can stick to natural light, of course, but at high magnifications you will end up pushing the ISO so much that it adds unnecessary noise to your image.
6. Start at the front of your subject and work towards the back. Move forward very slightly to adjust the depth of field and as you watch the point of focus move over your subject, take a shot at each stage. The tiniest of movements is sufficient for this.
7. I shoot the majority of my ‘stacks’ handheld. The key is to stay as still as possible, which is easier said than done! If the subject moves or you move from side to side, stop and start a new stack.
8. While getting to grips with this technique, stick to small stacks. Start off with 2-5 images. Then, once you have mastered this you can go for bigger stacks.
9. Don’t be tempted to fire off a burst of shots. While you may get one or two more stacks, you will most likely end up taking shots at the same point of focus and this will leave your image diffracted once you stack those multiple frames together in software.
10. I prefer to use Photoshop, but you can use dedicated software such as Helicon Focus and Zerene Stacker. Loading your files into the selected software of choice will now create a stacked composite of your images. There are plenty of YouTube tutorials to guide you through this process.

Related reading:

• Top Macro Photography Tips
• Best photo editing software
• Top tips for insect photography

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To get as much of the subject in focus as possible, it’s necessary to stop down the aperture of the lens. For fast shutter speeds to avoid blur caused by subject or camera movement, you need a lot of light. However, opening up the aperture will let more light in and diffuse the background, making the subject stand out. The depth of field will be extremely shallow, but you can achieve unusual, creative images by the precise use of selective focus.

Stop down the aperture to get as much of your subject in focus as possible. Canon EOS 5D Mark II, 100mm, 1/40sec at f/9, ISO 200. Credit: Colleen Slater

How much light do you need for macro photography?

You can shoot in daylight using the ambient light available, introduce flash on or off the camera or use continuous light from torches, LED lights, mirrors and reflectors. The quality and position of the light are important.

Ensure you diffuse bright sunlight and the light from flash heads. Harsh light creates too much contrast, with over-bright highlights and shadows lacking detail, especially when shooting subjects with shiny surfaces. Diffusers help to eliminate reflections, softening the light to give beautiful colours and tones. I use a white umbrella attached to a small tripod to filter sunlight. Bringing well-diffused flash heads closer to the subject will also help soften the light.

Make use of shallow depth of field and selective focus for creative results. Canon EOS 5D Mark II, 100mm, 1/400sec at f/3.2, ISO 200. Credit: Colleen Slater

Using flash

Flash allows a smaller aperture to be used, giving greater depth of field. The built-in flash on some cameras is best avoided as the light is harsh and doesn’t allow enough control over the power of the flash or its direction.

Also, the flash may be obscured by the lens owing to the short working distance. The flash heads of the Canon Macro Twin Lite MT-24EX flash system I use are attached to the end of the lens, which helps to avoid this problem. You can adjust the flash ratio and angle of each flash head or fire only one of them. This offers a lot of control and more modelled light than that from using a ring flash.

Fill light

Flash can be used as fill light to bring out the details, colours and textures of your subject, especially in the shadows. The trick to achieving a natural look is to balance the ambient light with the flash, and if done well, its use should be almost undetectable.

First, take a shot to correctly expose the background, then introduce flash to expose the subject and alter the settings until it looks right. I usually use minus 1 or 2 stops of flash exposure compensation and set the camera to underexpose the background slightly. I find this gives the best results, making the subject stand out from the background.

Use a diffuser to filter harsh light and even out tones and colours. Canon EOS 5D Mark II, 24-105mm, 1/250sec at f/9, ISO 250. Credit: Colleen Slater

Consider the background

Having a flash as the only light source can be especially useful when shooting handheld. The short duration of the flash freezes subject movement, allowing a smaller aperture to be used with the optimum ISO setting for image quality. The downside is that the flash will correctly expose the subject, but the background will be underexposed and may look dark and artificial.

Avoid this by keeping the background very close to the subject. I usually set a shutter speed of 1/160sec and an aperture between f/8-f/16, at ISO 100. Manual exposure must also be used otherwise, the camera will attempt to correctly expose the background using a shutter speed that’s much too slow. Mastering lighting techniques is key to producing great macro shots. Experiment and you’ll soon learn which techniques and pieces of kit work best.

Colleen’s top tips for lighting macro subjects

Macro insect photography. Credit: Colleen Slater

1. Use natural light

Outdoors, the best light for macro photography is a bright, overcast sky where the thin cloud diffuses sunlight and acts as a giant softbox. This provides an even, gentle light that brings out texture and detail and renders colour beautifully. This caterpillar was drying out after a rain shower.

Credit: Colleen Slater

2. Diffuse the flash

The plastic diffusers sold to go over flash heads won’t work, because they don’t increase the size of the light source. Many photographers make their own using styrofoam, tissue paper and tape, and so on. A quick internet search will bring up a wealth of information on how you can make these.

Credit: Colleen Slater

3. Avoid a black background

To achieve a natural look when using flash as the only light source, angle a leaf upwards, behind the subject or the petals of a flower to create a natural-looking backdrop. Or shoot up towards a bright sky, which will render as blue, use water as a backdrop, or try using a board/fabric close to the subject.

Credit: Colleen Slater

4. Diffuse the sunlight

A white translucent umbrella can be easier to use in the field than flat diffusers, especially if there is a breeze. Attach this to a tripod or lighting stand; I use a Manfrotto Lite-Tite Swivel Aluminium Umbrella adapter. Angle the umbrella and place it to filter the sunlight falling on to the subject.

Credit: Colleen Slater

5. Use reflectors and mirrors

Use a reflector to inject light into dark areas of the subject. Silver reflects more light than white, and gold can inject warmth when the light is cool. A mirror can be placed in sunlight, angled towards the subject to reflect much stronger light; this is especially useful when the subject is in shade.

Credit: Colleen Slater

6. Change the light position

Backlight your subject using a mirror, a powerful torch, sunlight or off-camera flash to provide a dramatic rim-light around your subject. Try side lighting to bring out all the texture on the surface of the subject and emphasise the details in the subject by keeping the background simple.

Why it works

Working in strong sunlight can create light effects with real sparkle and brilliance. I submerged a white chrysanthemum in water and the oxygen bubbles formed a decorative effect on the petals. Using a wide aperture, the out-of-focus specular highlights have taken on the shape of the 100mm lens diaphragm and become part of the composition. I used coloured gels (actually sweet wrappers!) on the top and sides of the tank to act as coloured filters as the sunlight shone through them onto the petals. It took a lot of experimenting to get something that worked, but I was happy with this one.

Credit: Colleen Slater

Kit list

• Canon Macro Twin Lite MT24EX – You can adjust the flash ratio of each flash or fire only one of them. This provides modelling light rather than the flat light you get from a ring flash.
• Lastolite umbrella – This translucent, white umbrella is placed so that sunlight shines through the fabric. It will scatter the harsh light with a softening effect that will greatly enhance your images.
• Reflector – These 5-in-1, collapsible, lightweight reflectors come in various sizes. Illuminate your subject by angling the reflector to bounce light onto the subject, moving it nearer or further away to change the intensity.
• Mirror – Simple 30x30cm mirror tiles can be bought in DIY shops. They are fairly robust and ideal for stowing away safely in a camera bag.

Colleen Slater is a professional photographer and macro specialist with an interest in the smaller things in life. Her images draw attention to the ordinary, often unnoticed, things in the everyday world. Based in Brighton, she teaches photography one-to-one and gives talks on macro.

Find out more at www.colleenslaterphotography.co.uk.

More reading:

• Complete guide to macro photography
• How to get great autumn macro shots
• Top macro flower photography tips

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The post Macro photography lighting tips appeared first on Amateur Photographer.

To be in with a chance of taking home the national prize of this year’s EISA Maestro competition, entrants were tasked with submitting a series of between five and eight images on the theme of ‘The Animal Kingdom’. All entries had to be taken for the purposes of this competition, and we were looking for a selection of images that hung together as a coherent whole. The subject matter could be any type of animal, including wild and urban wildlife, pets and farm animals.

It’s not difficult to see why we were so drawn to Angi’s portfolio. While it’s true that the subject matter might not be exactly to everyone’s tastes, nobody can deny the skill with which the images were created.

Below we’ll learn more from Angi about her background, and what it feels like to win the national round. For this portfolio, she wins a digital subscription to Amateur Photographer and goes forward to the final round of the EISA Maestro Photo Contest 2023, where she will compete against other international photographers to take home one of the top prizes – over €4,250 is up for grabs. Visit: eisa.eu/maestro/

AD: Tell us about your background 
AW: My background is in nursing. I worked as a rheumatology specialist nurse but needed to change my career due to health problems. An opportunity came up for me to work as editor of a reptile magazine, which I jumped at as one of my hobbies was keeping reptiles and frogs. Part of my job was writing articles and supplying photographs; luckily my ex had three reptile shops so I had lots of opportunities to photograph a wide range of creatures. I had no experience but threw myself into learning both photography and magazine-related stuff.

AD: How did you get into photography, and what was your first camera?
AW: I had always loved taking photos whilst out hiking in the Lake District and wanted to learn more. I only had a little point-and-shoot Fuji Finepix for this, but I was given a Canon 300D DSLR with kit lens for Christmas and decided to use all manual settings within two weeks.

Green weevil beetle. Sony A7 III, 65mm, 1/200sec at f/8, ISO 100. Photo credit: Angi Wallace

AD: What are your favourite subjects?
AW: My first photography subjects with the DSLR were mainly my frogs, reptiles and flowers from our garden. Since then I have dabbled with landscape, then portraiture with a group from Bristol – we regularly met up, shared kit and helped each other. As time went on I decided to throw myself into learning new genres or subjects each year. I loved gig photography but my health declined further, meaning I have been unable to manage photography that demands energy.

So I have adapted and do 90% of photography from home or in our garden now, such as still life, flowers, food and macro. Photographing frogs has always been right up there with my favourite subjects, closely followed by fungi, but over all my favourite type of photography is not one subject or even genre – I enjoy close up and macro work most, but the key favoured element is creativity. I like to be constantly learning.

AD: How and where do you find inspiration? 
AW: I have many interests – art, animals, nature, folklore, history, fantasy, paganism – so I am never short on inspiration. I have so many projects I would love to embark on and not the ability (health-wise) to actually do them all. I find inspiration everywhere, if my project involves challenges then that’s even better.

Blue carpenter beetle. Sony A7 III, 90mm, 1/200sec at f/11, ISO 50. Photo credit: Angi Wallace

AD: What is your current kit?
AW: I am incredibly lucky to have been given a Sony A7 III and several lenses, as well as access to a Nikon Z6 plus 105 macro lens, by my partner Michael who is a wildlife photographer. I love the Sony, I find it very light and intuitive in situations like gigs. My favourite lens for the last 17 years has been a Sigma 150 macro lens which I used for portraiture as well as macro. I was extremely lucky in winning the APOY close up round in recent years which allowed me to purchase a new one to replace my old faulty lens – apparently I got the last one in the factory.

This year I won Camera Jabber POTY with an another amazing prize by MPB, so I was able to finally get my dream lens, a Sigma 180mm macro lens and I love it – it’s my new favourite. I also use a Sony 90mm macro lens and some vintage lenses coupled with extension tubes (Meyer Görlitz Primoplan and Helios). I have also been able to buy another bit of dream kit this year, a WeMacro auto focusing rail, this enables me to do focus stacking with all of my Sony gear. I had been borrowing my partners Z 6 and using its focus shift option up until February and will still be using it for location macro focus stacking as the rail is too slow to use outdoors when wind moves plants or insects are active.

Jewel stag beetle. Sony A7 III, 90mm, 1/200sec at f/4.5, ISO 50. Photo credit: Angi Wallace

AD: Do you have a dream purchase?  
AW: That’s a hard one now as I just recently acquired two of my dream pieces of kit. I’m more than happy with the kit that I have and don’t tend to hanker after new kit, although I would one day like a high-speed trigger so that I can capture my frogs jumping.

AD: What software do you use for editing?
AW: I have used Photoshop for over 20 years and still prefer it; I’m not a fan of Lightroom’s filing system so I just do not use it. I use Bridge for quickly browsing and choosing images to edit. I also use Helicon for focus stacking.

AD: Who are your favourite photographers? 
AW: Mandy Disher has been a favourite for many years, I adore her still life and flowers. More recent favourites are Guy Edwards for his fungi and landscapes, and Jake Hicks for his portrait and lighting work.

AD: What are your favourite photography books?
AW: I have only ever bought a handful of photography books but two of these helped me so much from the start Firstly Understanding Exposure by Bryan Peterson; second is The Hot Shoe Diaries by Joe McNally I still highly recommend both.

Ruby fruit chafer beetle. Nikon Z 6, 105mm, 1/200sec at f/18, ISO 125. Photo credit: Angi Wallace

AD: What inspired you to create this portfolio? 
AW: At the time that I saw the competition brief I was really pushing myself hard to improve with focus stacking macro subjects. I had just bought the WeMacro automated rail and thought that a portfolio of macro focus-stacked insects could be a great subject – I could show off their striking details and beautiful colours to many who do not see this level of detail in everyday life.

AD: What were the challenges involved in creating this portfolio?
AW: Creating each image was a lengthy process with a lot of behind-the-scenes preparation. It was important to me to source my subjects from responsible, ethical traders, where the insects die naturally and purchasing helps to sustain more insects as well as helping communities. So I had to be patient and wait for some items to ship from a specialist ethical company overseas.

Preparing the insects is a very delicate procedure, to get a dried specimen in the correct position and cleaning it up with the tiniest brush. Because some are so small, positioning can be incredibly fiddly and time-consuming, but worth it in the end. It could easily take me a couple of hours of preparation per subject.

Next was getting lighting right; as insects so frequently have very shiny parts it could take up to three layers of diffusion material per light to avoid specular highlights, often using two to three lights plus tiny reflectors (pieces of foil to bounce the light back into shadowed areas).Then I had to get to work with setting the WeMacro and camera, to take enough images to get the entire subject in focus when stacked.

This ranged from 46 to 185 photographs – with intervals for the flashes to recharge between each shot – so a stack could easily take 30-45 minutes. Then I had to stack each image in Helicon software, and process in Photoshop, zooming right in to ensure artifacts from stacking were removed. The whole editing process per image could take a couple of hours, even though there were only minor, miniscule alterations, but I wanted to get them as perfect as possible.

Jewel stag beetle. Sony A7 Mark III, 90mm, 1/200sec at f/5, ISO 125Photo credit: Angi Wallace

AD: How long did it take you to create all the images in the portfolio?
AW: It took me 3 months to get all the images in the portfolio.

AD: What was it like creating a portfolio specifically for the purpose of entering Maestro?
AW: I really enjoyed having a portfolio to focus on and I am already working on other portfolios.

AD: How did it feel to find out that you had won the UK round of the competition? 
AW: I was amazed that my portfolio came first, as I was unsure how using taxidermy specimens would be perceived. But if Levon Bliss can put out images of preserved specimens then so can I! I was blown away by the talent and beautiful portfolios entered. I had thought I did not have a chance, so was quite shocked.

Blue-banded weevil. Nikon Z 6, 105mm, 1/50sec at f/5.6, ISO 100. Photo credit: Angi Wallace

AD: Are you nervous about how it might fare against the other countries’ portfolios? 
AW: Not at all. Whoever wins, wins and I know that I will enjoy viewing the winning portfolios from the other countries. I am proud to fly the flag for the UK and even prouder to fly the flag for disabled people/ people with M.E.

AD: What are your favourite photography tips? 
AW: Get creative. When I was part of a camera club there were often themed shoots and everyone would shoot the same subject in the same way – look for different creative ways to photograph your subject.

AD: What would you say to anyone thinking of creating a portfolio for next year’s competition? 
AW: Do what you love, your passion will shine through. Don’t let anything put you off, just believe in yourself and go for it, as you have to be in it to win it. I could easily have given up as I am unable to get out and shoot wildlife like many people can, but I found a way to shoot the theme from home, which suited my physical capabilities and passions – it worked for me.

For more information on Angi’s work, visit angiwallacephotography.com. Stay tuned for the overall international results, but in the meantime, vote for your favourite portfolio in the EISA Maestro Public Choice Awards!

Feeling inspired? See more of the best photography competitions to enter.

Related reading:

EISA Maestro 2022 UK competition winner revealed!

EISA Maestro 2022 international winner revealed!

Macro photography lighting tips

The best value macro lenses

Best macro lenses for mirrorless and DSLRs

How to take great macro photos on a smartphone

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The post Macro insect portfolio wins EISA Maestro 2023 UK competition! appeared first on Amateur Photographer.

Subjects can be found anywhere from inside our own homes, gardens and of course, the great outdoors. We share some of the best close-up photographs as inspiration for your next close-up or macro shots:

The Best Close-Up and Macro Photographs

Hemitriachia calyucata by Nathan Benstead

Nathan Benstead. Hemitriachia calyucata. Sony A7R IV, Laowa 100mm f/2.8, 1/200sec at f/8, ISO 200.

Nathan was the Young Close-up Photographer of the Year winner of the CUPOTY 04, 2022 competition.

Last winter, I was walking through my local woodland, inspecting rotten logs and sticks, when I came across a log covered in slime mould fruiting bodies or sporangia. I set up my camera gear and focused on a small cluster among the moss.

@nature.magnified

Little Predator by Viktor Lyagushkin

Little Predator. Photo credit: Viktor Lyagushkin/CUPOTY. Nikon D850, Nikkor 8-15mm f/3.5-4.5 Fisheye, 1/80sec at f/13, ISO 3200.

Viktor was the ‘Underwater’ category winner of the CUPOTY 04 (2022) competition.

This is a Lucernaria quadricornis (Stauromedusae), a stalked jellyfish, photographed beneath the ice of the White Sea in Russia – the only freezing sea in Europe. The green colour of the water is a sign of spring as algae grows. ‘The “leg” of the jellyfish helps it to attach to a stone or seaweed. Its tentacles project up or down, waiting for prey. If its hunt is successful, it catches the prey and collapses its tentacles into a fist. If the hunting site is no good, Lucernaria walks away on its “leg” or sometimes its “hands”.

@viktor_lyagushkin

Batrachospermum Algae by Marek Miś

Batrachospermum red algae. Photo credit: Marek Miś. Pentax K-1, Olympus 4x S-plan Apo objective, 1/5sec, ISO 100.

Marek was the ‘Micro’ category winner of CUPOTY 04 (2022 competition).

I took a sample of Batrachospermum (a kind of red algae) from a small river in Wigry National Park, Poland. Although it has natural beauty, it doesn’t look great using bright-field illumination. However, by combining polarised light and darkfield techniques I managed to get a colourful and interesting picture.

‘It was challenging to show more than one or two “twigs” of algae, because even a 4x microscope objective shows too small a part. To capture it properly, I made a panorama consisting of nine images stitched together during post-processing. To expand the depth of field, which is very shallow using a microscope, each of the nine images consist of several frames combined in one output image in Helicon Focus. The final image is the result of combining more than 100 separate shots. 

@marekmisphotography__

Nature’s Pitfall by Samantha Stephens

Nature’s Pitfall. Photo credit: Samantha Stephenson. Canon EOS 5D Mark III, Laowa 15mm f/4 macro lens,1/100sec, ISO 1250.

Samantha was the Overall and ‘Animals’ category winner of CUPOTY 04 (2022 competition).

Northern pitcher plants (Sarracenia purpurea) are carnivorous, allowing them to survive in nutrient-poor bog environments. Here there is no rich soil, but rather a floating mat of sphagnum moss. Instead of drawing nutrients up through their roots, this plant relies on trapping prey in its specialised bell-shaped leaves, called pitchers.

Typically, these plants feast on invertebrates – such as moths and flies – but recently, researchers at the Algonquin Wildlife Research Station discovered a surprising new item on the plant’s menu: juvenile spotted salamanders (Ambystoma maculatum). This population of northern pitcher plants in Algonquin Provincial Park is the first to be found regularly consuming a vertebrate prey. For a plant that’s used to capturing tiny invertebrates, a juvenile spotted salamander is a hefty feast!

On the day I made this image, I was following researchers on their daily surveys of the plants. Pitchers typically contain just one salamander prey at a time, although occasionally they catch multiple salamanders simultaneously. When I saw a pitcher that had two salamanders, both at the same stage of decay floating at the surface of the pitcher’s fluid, I knew it was a special and fleeting moment. The next day, both salamanders had sunk to the bottom of the pitcher.

@samanthastephens_

Ice Encrusted Comatricha by Barry Webb

Ice Encrusted Comatricha. Photo credit: Barry Webb. Olympus OM-D E-M1 Mark II, Olympus M.Zuiko Digital ED 60mm f/2.8 Macro, 1/15sec at f/4, ISO 200.

Barry was the ‘Fungi’ category winner of CUPOTY 04 (2022) competition.

In January last year, following two days of freezing fog and sub-zero temperatures, I found some mature Comatricha growing on an old fence post lying on a pile of discarded, rotting timber. I was attracted to the way the ice had encased the slime mould, creating strange, windswept, leaf-like shapes. The tallest one was only 3mm high, including the ice. The final image is the result of 55 focus-bracketed images combined in Zerene Stacker.

@barrywebbimages

Mayan Derriere by Jamie Hall

Mayan Derriere. Photo credit: Jamie Hall. Canon EOS 5D Mark IV, Sigma 105mm f/2.8 lens, 1/100sec at f/10, ISO 320.

Jamie was the ‘Invertebrate Portrait’ category winner of CUPOTY 04 (2022 competition).

This triangular spider species (Arkys curtulus) is an ambush predator, not a web-based hunter like most. To hunt its prey, it sits compact and curled up on a leaf, mimicking bird poo or other bio-debris. Balanced abdomen-side down, eyes up, it looks to the sky and watches for an unsuspecting fly or other insect to wander onto the leaf.

The abdomen on this species has some very pronounced and interesting markings, which reminded me of the Mayan carvings on rocks and stone. This individual was photographed in a conservation park in Brisbane, Australia.

@jamie_hall_definitive_imaging

Veiled by Wim Voojs

Veiled. Photo credit: Wim Voojs. Sony A7III, Laowa 100mm f/2.8 2x Ultra-Macro, 1/500sec at f/2.8, ISO 500.

Wim was the ‘Butterflies & Dragonflies’ category winner of CUPOTY 04 (2022 competition).

I found this dew-covered male banded demoiselle on a reed stem among the streams near my hometown, Ede in the Netherlands. Banded demoiselles are easy to approach as they rest and dry in the early morning. I tried to find an angle that would produce bokeh bubbles in the warm light, creating the atmosphere that I desired in the picture.

I like to emphasise the beauty of these insects by showing their strength and vulnerability. I’m not after a record shot, more an emotional portrait – maybe this is due to my background as a portrait photographer.

@wimvooijs

Macro photography: how to shoot insects

Oil & Water 44 by Matt Vacca

Oil & Water 44. Photo credit: Matt Vacca. Nikon D850, Nikon AF-S Micro-Nikkor 60mm f/2.8 lens, 1/160sec at f/5, ISO 200.

Matt was the ‘Manmade’ category winner of CUPOTY 04 (2022 competition).

This picture was captured as two drops of oil were merging. I’m intrigued by polarity and experimenting with oil and water has become a rich source of abstract expression. The symbiotic relationship that evolves from naturally opposing elements has become metaphoric for me. I am constantly learning and finding new inspiration, as I watch and continue to be fascinated by the dance that plays out through a macro lens.

@mattvacca_

Everyday objects as alternative macro subjects

Next to my Tree by Sébastien Blomme

Next to my tree. Photo credit: Sébastien Blomme. Pentax K-1, Pentax DA 300mm, 1/250sec at f/4, ISO 800.

Sébastien was the ‘Plants’ category winner of CUPOTY 04 (2022 competition).

Snake’s-head fritillary is one of my favourite flowers. This one was taken in the city of Toulouse, France. It usually grows on wet meadows but can also be found in forests. In this image, I wanted to introduce some context, but keep the flower as the centre of interest. I managed to get a tree in the background and decided to keep it out of focus so that its shape is only suggested.

@sebastien_blomme

Top macro flower photography tips

Intruder by Anirban Dutta

Intruder. Photo credit: Anirban Dutta. Nikon D500, Nikkor 200-500mm f/5.6 lens, 1/5sec at f/32, ISO 800.

Anirban was the ‘Insects’ category winner of CUPOTY 04 (2022 competition).

Before the start of the monsoon every year, some species of termite swarm in the late afternoon and early evening – this behaviour is known as nuptial flight. One day, I witnessed this event near a petrol pump in the town of Cooch Behar, India.

There were thousands of termites drawn to the powerful street light, and one black drongo. This bird spent almost 20 minutes swooping through the termites, snatching and eating them as it went. ‘I shot multiple exposures to capture this event, which I had never seen before. Three frames were recorded and combined in-camera. The first one with a high shutter speed and in Kelvin white balance, the second with a high shutter speed isolating the drongo and the third with a slow shutter speed in Tungsten white balance.

@duttaanirban50

Frequency by Mike Curry

Frequency. Photo credit: Mike Curry. Sony DSC-RX100 VI, 24-200mm (fixed), 1/250sec at f/4.5, ISO 125.

Mike was the ‘Intimate Landscape’ category winner of CUPOTY 04 (2022 competition).

This is a reflection of a building at Canary Wharf in London taken in November. The water was moving in a very fluid way and I was there to try out my new Sony DSC-RX100M6 – I was particularly keen to test the camera’s fast burst and slow motion video modes. I was struggling to get it to focus on the water’s surface, but after about two hours of failed attempts it suddenly worked, and the results were amazing!

@mikecurryphotography

Porcelain Fungus by Guy Edwardes

Guy Edwardes. Porcelain Fungus (Oudemansiella mucida), New Forest National Park, Hampshire, England. Canon EOS 5DS R, 100mm, 1/6sec at f/11, ISO 100

‘These porcelain fungus were in nice condition, but I came across them late in the day. I used my 100mm macro lens to shoot them from beneath against the distant treetops, so their gills were clearly visible. I exposed to keep the sky dark and then used my two LED light panels to backlight them from above.’

See more fantastic examples from Guy here: How to take fantastic photos of fungi

@guyedwardes

Anemone by Sue Bishop

Sue Bishop

Sue Bishop’s macro photograph of a Anemone flower draws us to the intricate details at the centre of the flower, capturing a richness of colour and each individual element with spot on focussing surrounded by the softness of petals.

Sue Bishop specialises in flower and landscape photography, is an author and has exhibited her work many times and sold her images worldwide. You can see more of her top macro flower photography tips here.

@suebishopphotos

From the series Plant Scars by Tracy Calder

This mark in the leaf made me think of a butterfly balancing on a tightrope 2.3 sec at f/16, ISO 200. Tracy Calder

Tracy Calder co-founded Close-up Photographer of the Year – a competition celebrating close-up, macro and micro photography – with her husband in 2018. She has written numerous photography books and her work has appeared on the walls of The Photographers’ Gallery and The National Portrait Gallery in London.

She recently was awarded a RHS Gold Medal at RHS Botanical Art and Photography Show with her portfolio Plant Scars.

‘In June 2021, when the first coronavirus lockdown ended in the UK, I paid a visit to Ventnor Botanic Garden on the Isle of Wight. This location has provided solace for me many times – I swear there is some sort of magic in the ferns, palms and herbs there. Walking through the Arid Garden (home to desert-loving plants like agaves and aloes), I spotted the leaf of an agave drooping over the path.

There was a gash in the leaf, lined with tooth-like notches. Just above it was a patch of circular damage that looked like some sort of all-seeing-eye. At that moment, the seed of a photographic project started growing in my mind. As I stood in the shadow of this beautiful, but damaged, plant I wondered if it had its own language, and whether there was anything I could learn from it.’

See Calder’s advice for creating a successful photography portfolio here.

@tracy_calder_photo

True Love by Alex Pansier

Alex Pansier. Sony A9, Sony 400mm f/2.8, 1/500sec at f/3.5, ISO 400. Tripod

Alex Pansier won the 2021 CUPOTY Two of A Kind challenge!

‘European ground squirrels are classified as vulnerable, mainly due to habitat loss. These two were busy eating a faded poppy on a lawn in Vienna. I really enjoyed watching them working together, like father and son. For me, observing and photographing nature is a great way to unwind and share the beauty that’s all around us. I prefer compositions that are simple and pared back, and I usually shoot on dark and moody days, although this image has a lighter feel.’

@alexpansier

Close-up tips from Two of a Kind CUPOTY Challenge winners

Mature Comatricha by Barry Webb

Barry Webb. Olympus OM-D E-M1 Mark II, Olympus 60mm f/2.8 Macro (with extension tubes and Raynox 250), 1/5sec at f/4, ISO 200. Gitzo Explorer tripod and cable release

Barry Webb came second place in the 2021 CUPOTY Two of a Kind challenge with this duo of slime moulds.

‘These tiny (2mm tall) slime moulds were found on a dead apple branch, from a log pile in my back garden in Buckinghamshire. The spores have dispersed, leaving the delicate, thread-like capillitium. I carefully lifted the branch onto a garden bench and arranged some moss behind it to create a pleasing, natural background. The picture was taken in natural light and is the result of a 56-shot focus stack.’

@barrywebbimages

Close-up tips from Two of a Kind CUPOTY Challenge winners

The Kiss by Angi Wallace

Angi Wallace. Nikon Z6, Sigma 105mm f/2, 1/200sec at f/4, ISO 50. Mini tripod and fill flash

Angi Wallace was a finalist in the CUPOTY Two of a Kind challenge.

‘The details and pretty textures on the buds, leaves and unfurling flowers of the cyclamen in my garden really appealed to me. In this instance, the little nodding heads were forming a wonderful heart shape. I decided to isolate the blooms while keeping the surroundings soft and dreamy.’

@angiwallacephotography

Insect Diversity by Pål Hermansen

Pål Hermansen. Hasselblad H3D 39, Hasselblad 120mm f/4 macro, 8secs at f/ 25, ISO 50

Norwegian photographer Pål Hermansen won CUPOTY 03 (2021 competition) with this insect flat lay.

‘In the autumn of 2020, I discovered that one of the lamps on the side of my house in Norway had a defect and had acted as a light trap for insects. I emptied the lamp and spread the contents onto a large light-table I had left over from my days shooting slides. I used a weak flashlight to light the details from above.

I wanted to express the chaos and diversity of this discovery, but also to find some kind of composition. To me, it’s a visual reminder of the important and extreme diversity of animals around us that we take for granted.’

Technical Editor, Andy Westlake, selected Hermansen’s photograph as his favourite of 2021. Talking about the photograph he said, on the surface this photo is ‘a perfectly constructed still-life flat lay, that invites us to consider the readily overlooked beauty and variety of some of the smaller animals with which we share the planet. The artist has worked wonders in extracting order from chaos, with the carefully constructed composition complemented by a subtle colour palette of yellows and ochres.

But a deeper level of meaning is added by the revelation that all of these insects were trapped in a lamp at his home. It’s a timely reminder for us all to take a step back and contemplate the impacts our lives and habits might have on the natural world, inadvertent as well as deliberate, and to consider what we might do better in future.’

@hermansenpal

Behind the scenes of Close-up Photographer of the Year 03 Images

Urban Beach Day by Jennifer McKinnon

Urban Beach Day – 6.30am. Olympus OM-D E-M5 II, 60mm Macro, 1/160sec at f/7.10, ISO 640

Jennifer McKinnon spends much of the year searching the streets of Atlanta for dumpsters, the subject of her macro photographs. At first, she was attracted to them due to their unusual (and aesthetically pleasing) markings – a result of natural and unnatural weathering – but over time she came to realise that her images could be used to highlight the impact that waste and consumption has on the natural world.

Her early ‘dumpster abstracts’ such as this have instant graphic appeal: bands of colour sweep across the frame giving them the air of contemporary paintings. You certainly wouldn’t expect this to be a close-up photo of a dumpster!

www.jennifermckinnon.com

Everyday objects as alternative macro subjects

Circular Octopus by Alessandro Grasso

Alessandro Grasso. Canon EOS 5D Mark IV, Sigma 15mm f/2.8 EX DG Diagonal Fisheye, 1/13sec at f/22, ISO 160

Alessandro Gasso was the Underwater category winner of CUPOTY 03 (2021 competition) with his Circular Octopus photograph.

‘In the past three years, the bacterium mycobacterium sherrisii has caused the mass death of pinna nobilis (noble pen shell) throughout the Mediterranean Sea. Most of the empty shells of the large bivalve have been colonised by other marine species.

In this case, an octopus has taken advantage of the large shell to create its den and protect itself from predators. I used a slow shutter speed and circular panning motion to give dynamism to the image and emphasise the subject.’

At a quick glance the photograph could also be mistaken for an eye, before looking closer to see the octopus looking right back at us.

@alessandro.grasso73

Behind the scenes of Close-up Photographer of the Year 03 Images

Eel Larva by Galice Hoarau

Galice Hoarau. Olympus E-M1 Mk II, Olympus 30mm Macro, ISO 400, f/16
1/320sec. Accessories: Nauticam underwater housing, 2x Inon Z-330 strobes, 2x Sola lights

Hoarau was the overall winner and took first place in the animals category of CUPOTY 02 (2020 competition)

‘I spotted this eel larva off the island of Lembeh (Indonesia) during a blackwater dive. Blackwater diving is essentially diving at night in the open ocean, usually over deep or very deep water. Divers are surrounded by darkness, with only a lit downline as a visual reference.

Peering through the darkness with your torch can be stressful the first time you do it, but it gets fascinating quickly’ explains Hoarau, a professor in marine molecular ecology. ‘After sunset, small pelagic animals (like this larva) rise close to the surface to feed where the sunlight has allowed planktonic algae to grow. At sunrise, they dive into the depths and stay there during the day to escape predators.’

@galice_hoarau

Close-up Photography of the Year winners revealed

Little Ball by Tamas Koncz Bisztricz

Tamas Koncz-Bisztricz. Canon EOS 7D Mk II, Canon MP-E 65mm Macro, ISO 800, f/4.5, 1/250 sec. LED torches

The Young Close-up Photographer of the Year in 2020 attracted some strong entries with Tamás Koncz-Bisztricz winning the overall title for a shot of a springtail in a meadow close to his home in Hungary. ‘One frosty winter’s morning I headed out to take some extreme macro shots at the surface of some frozen water that had pooled in the tracks left by a tractor, he explains. ‘Crouching down, I spotted some yellow globular springtails which were feeding in the sunrays reflected from the ice. I used LED torches to illuminate one of them, and came away with a picture that celebrates this tiny creature.’

@kbtamas

Close-up Photography of the Year winners revealed

Namib’s Gaze by Emanuele Biggi

Credit: Emanuele Biggi. Nikon D810, Nikon AF-S 60mm f/2.8 Macro, ISO 100, 1/250sec at f/16. Accessories: Flashes with custom-made diffusers, flash bracket.

Emanuele Biggi was the first-ever Close-up Photographer of the Year overall winner, and came first place in the Animals category. This photograph looks like a beautiful array of crystals and glitter until you clock two well camouflaged eyes looking back at you.

‘Finding a Peringuey’s adder (Bitis peringueyi) in the Namib Desert isn’t easy. I followed its tracks during the early morning, and eventually found one under a shrub with its eyes poking out. This adder is small – the diameter of each eye is about 2-3mm, so even though I knew it was there, it was still hard to spot! This species relies on camouflage to hunt and uses a sit-and-wait technique, leaving its nostrils and eyes above ground for breathing and scanning around. When prey comes near, the snake strikes and delivers a venomous bite.’

@emanuele_biggi

Expert tips for award-winning macro shots

Winter Oakmoss by Jane Simmonds

Jane Simmonds. iPhone 7 Plus, 1/17 sec at f/1.8, ISO 100

‘I enjoy using my phone to make abstract images of the things I collect on my daily walks in the Forest of Dean. Back in January, on a dreary winter’s day, I was drawn to the delicate, branched shapes and silvery colour of the oakmoss lichen I saw on the twigs and branches. I picked up a few pieces that had been blown to the ground and took them home.

I normally use a light pad to photograph the things I collect, but this approach didn’t work with the lichen so I placed it on a piece of slate tile (which produced a nice textured background) instead. I made a series of images using my iPhone and then experimented with blending them “in-camera” using the PhotoSplit app, which has a multiple exposure mode. I tried various blending modes before achieving this look.’

An impressive and creative capture on a smartphone, proving the best camera you have is the one you have on you!

@janesimmonds31

Expert tips for award-winning macro shots

Stormy Skies by Rachel McNulty

Stormy Skies. Olympus E-M1 Mk II, 60mm f/2.8, 1/15sec at f/2.8, ISO 400

Rachel McNulty embarked on a home-based project to create abstract ‘seascapes’ using colourful glass bottles, a macro lens and daylight. The dining room table became her studio and the sunlight entering the room enhanced the colours and created incredible reflections inside the bottles.

‘When I looked through the viewfinder, I suddenly saw waves crashing on a beach, storm clouds out at sea and dramatic sunsets,’ she told us. ‘No two images will ever be the same: the light changes, the position of the bottle moves and the reflections shift, just like a real seascape constantly alters.’

This photograph shows details in a glass bottle but gives the impression of a dramatic sky above a calm blue sea.

In 2021 her image ‘Waves Crashing’ (featuring a section of a blue gin bottle) won the Manmade category of Close-up Photographer of the Year, which was also selected by Technique Editor, Hollie Latham Hucker for our best photographs of 2021 list.

@rachelmcnultyabstract

Everyday objects as alternative macro subjects

Clouded Beauties by Henrik Spranz

Henrik Spranz. Canon EOS 5D Mark IV, Sigma 180mm f/2.8, 1/250 sec at f/3.2, ISO 400

Henrik Spranz won our Close-Up round of APOY 2021. About the image, guest judge Tracy Calder said: ‘This image ticks all the right boxes for me: excellent fieldcraft skills, beautifully balanced composition, superb technical ability and wonderful storytelling. The butterfly in the foreground is staggeringly sharp, which works brilliantly against the soft, dreamy bokeh.

The background butterfly has enough detail for us to know that it’s a second clouded yellow and the inclusion of the plant stems stops the insects from looking as if they are floating in mid-air. The gap between the two butterflies is perfect and the way that they are facing each other seems to imply there is a silent exchange going on.

The picture feels like a true celebration of this particular species – there are some beautiful shapes and highlights in the frame, which make it feel as though the butterflies are stars on a grand, natural stage. It’s an absolutely beautiful image that makes me extremely jealous it’s not mine!’

@henrik_spranz

Nigella Flower in Evening Light by Molly Hollman

Molly Hollman. Sony RX10 III, 8.8-220.0 mm f/2.4-4.0, 1/160 sec at f/5, ISO 320

Molly Hollman was awarded sixth place in our APOY 2021 Close-Up round.

Some flowers simply demand to be studied in close-up, and nigella – or love-in-a-mist – is one of them. Molly has done an outstanding job of drawing our attention to the tutu-like shape of the petals and stamen, and has chosen just the right angle to frame it with the delicate green bracts.

By chance, the background was provided by her son, whose T-shirt provided the perfect complement to the flower. Molly spotted its potential as her son walked past, which demonstrates a well-tuned and responsive photographer’s eye.

@mollyhollmanphotography

Peek-A-Boo by Gustav Parenmark

Gustav Parenmark

Gustav Parenmark was our Young APOY 2021 Close-up round winner.

Positioning the lacewing in the bottom right of the composition works wonderfully here, as does the striking colour combination. The damage to the insect’s antenna makes no difference to the impact of the picture – in fact, it signifies this is a living breathing creature, with all its flaws and scars. Beautifully observed and expertly captured.

@macrogp

All things texture at the beach by Billy Hughes

Billy Hughes

This golden sand photograph was shared with us by Billy Hughes on Instagram. The colours and contrasts are beautifully captured whilst composed perfectly as an intimate landscape which could also looking like larger sand dunes across a larger landscape.

The footprint in the sand is a subtle detail, as we leave our mark.

@billy_hughes_photo

Portrait of a ruby-tailed wasp by Matt Doogue

Matt Doogue. Canon EOS 6D, MP-E65mm, 1/160sec at f/9, ISO 320

A macro lens allows you access to a hidden world the human eye never sees, a world full of detail, colour and design. Focus stacking particularly enables you to see intricate details of tiny subjects. Matt Doogue’s image is a great example of the details you can achieve.

Find out how you can get started here with Focus stacking: How to achieve pin sharp macro shots.

Bonnie’s Eye by Nick Pollard

Nick Pollard. Sony A6400, Sony 70-350mm lens at 207mm with NiSi Macro Filter, 1/200 sec at f/14, ISO 3200

Nick Pollard’s photograph was included in our Good to Share section of the magazine in our 15th January 2022 issue.

‘Photography and I have had a love/hate relationship. I love it, it hates me… until recently, when after an impulse buy on an Sony A6400 I finally made sense of the whole exposure triangle (thanks YouTube) and started getting some reasonable shots. My partner and I ‘collect’ cats and we have 8 living with us which gives me a constant stream of opportunities to take photographs. Armed with a recent purchase of a NISI Macro Filter I ascended on Bonnie who was pleasantly sitting by the window in our Kitchen and I started taking shots. After managing to get the focus and DOF just right luck was on my side and photography finally loved me back’

@harmony_house_cats

Get more inspiration & tips

Feeling inspired? View our Top close-up photography tips, and learn how to light your subject so you can get shooting some spectacular shots!

If you are new to macro photography, check out our beginners guide to Macro Photography.

Related Reading:

• The top 20 best landscape photographs
• See the top 20 best travel photographs!
• Using your smartphone for macro photography

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The post Top 31 best close-up and macro photographs appeared first on Amateur Photographer.