Macro in Nature – The Basics

By Brian Russell EFIAP FAPS

Macrophotography like all genres of natural history photography and photography in general for that matter can be likened to a house with 8 doors because there can be 15 ways to get to the kitchen. There is never just one single approach nor technique nor equipment selection that will arrive at your desired outcome. However, being dedicated natural history photographers we must always abide by the APS Nature Code of Conduct clearly displayed on the APS website within the Nature Group Section.

The strict definition of macro is when a lens is able to record a subject on the ’ sensor at the same size as the actual subject (this is called 1:1). However, the term ‘macro’ often loosely describes all close-up photography from 1:10 (1/10) through 1:1 to 5:1 (5x). After that you need a microscope to record greater magnifications. Throughout this article, I will use the loose definition of macro – from 1:10 to 5:1

With the move to digital capture, never has it been so easy make macro images. Let me say right from the outset, you don’t necessarily need to own the latest offerings from Canon, Nikon, Olympus or Sony etc with their latest macro lenses attached to make quality macro images. I remember a previous chairman, Graeme Watson, writing on this very topic back in 2010 in the Image Magazine. I performed a similar exercise to Graeme when I revisited the images that I had recently judged for a local club macro competition. I reviewed the EXIF data and seven years later I confirmed Graeme’s findings that some authors are still producing wonderful images with entry level equipment.

So, the first place to start is by understanding your current equipment – its strengths and its limitations. Camera, Lenses and Attachments

1. Point and Shoot Cameras: If you own a point and shoot style camera it may have a ‘macro’ setting and while it may not be able to produce a 1:1 (or life size) image on the sensor, this setting will allow you to close on a small subject and you will be introduced to the world of close-up photography.

2. “Macro’ settings on regular : A number of zoom and even some kit lenses have a “macro” setting on them, but in reality, are best described as ‘close focus’ lenses and so are not true macro lenses. However, they will allow you to reveal structures on your subject that are not readily enjoyed by the naked eye.

3. Close-Up Lens /Filters: A number of filter manufacturers and camera manufacturers offer close up filters that screw onto the front of your lens, just like a UV filter. They come in various strengths (diopters), usually 1, 2 and 3 and allow closer focusing than your lens will allow by itself. I have no personal experience with these and so can’t comment on their quality.

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4. Reversing Ring: Another alternative is to use a reversing ring that attaches to the filter thread of your lens and the other side of this ring has a bayonet mount that fits to your camera body. This set up suffers a loss of lens functionality with electronic connection and so there is no control by your camera. Again, I have no hands-on experience with this method nor know of anybody who currently uses this method.

5. Extension Tubes: Alternatively, you may only have a standard 50mm lens on your DSLR and if so, a relatively inexpensive way of making macro images is to add an extension tube between your camera body and lens. These extension tubes contain no glass elements to degrade your image but simply move the glass elements in your lens further away from the sensor and in doing so allow for closer focusing and producing a larger image on the sensor, larger than with the lens by itself. (Note: extension tubes are different from lens extenders or multipliers which contain glass and increase the of your lens).

Extension tubes can also be sourced second hand and in good condition. Second hand tubes are fine as long as the mechanisms are working correctly to link to your camera to ensure correct metering. Given there are no glass elements in these tubes, there is no fungi or scratches to worry about. Third party extension tubes often come in sets of three, typically 12mm, 20mm and 36mm. My camera manufacturer only provides two at 12mm and 25mm.

Extension Tubes have the advantage of no glass elements to degrade your image and may be used as a single unit between camera and lens or together, again between camera and lens. The greater the extension, the greater the magnification.

A 25mm extension tube on a standard 50mm standard will provide around 1:2 size (or half-life size) image on a full frame size sensor.

This setup can be useful for larger insects or beetles and fungi. However, the laws of physics and light will work against you with the addition of these tubes in between the lens and the

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camera body. There will be a reduction in the amount of light arriving at your sensor and so shutters will need to open for longer times to correctly expose your image or increase your ISO. Extension tubes are handy to have in your pocket when out and about with longer focus lenses and you don’t want to be burdened down with the additional weight of another lens. In the past I have used a 12mm extension tube on 70-200mm lens and a 25mm extension tube on either a 300mm or a 500mm lens to reduce the minimum focus distance and obtain quite good quality images of dragonflies.

6. Macro Lens: The final common setup is a true macro lens attached to camera body – a setup you will no doubt end up with if you become serious about macrophotography. The leading manufacturers still offer 50mm and 60mm macro lenses. The 50mm macro lens was a favoured document copy lens before the digital age of scanners. The more versatile macro lenses offered these days tend to be in the 90mm – 105mm range with 100mm macro quite common. Most, if not all should provide 1:1 magnification. The added benefit of a 100 mm macro is it allows you to be further away from your subject, very useful when attempting to small insects. If you want to get still further way from your subject there are macro lenses available with focal lengths of 150mm, 180mm and 200mm yet still achieve a magnification of 1:1 In a true ‘macro’ lens, the shifting of the glass elements away from the sensor plane happens inside the lens barrel and so saves the adding or removing of tubes to achieve the desired magnification. The extension tubes discussed previously can also be placed between your dedicated macro lens and camera body to achieve even greater magnification than with the macro lens alone.

My favourite macro lens for insects – 180mm f3.5

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Some Concepts

It is now an opportune time to introduce you to the concept of ‘’ or DOF. Again, the laws of physics will challenge you as you enter the world of macro photography. In short, DOF is that part of an image that appears acceptably sharp in front of and behind your focus point. To increase your DOF, i.e. have more of your subject in front of and more behind your focus point appearing sharp in your final image, you will need to choose an f Stop of at least f11 and even up to f32.

Beware that as you close down the diaphragm in your lens from f16 to f32 your images may lose fine definition due to the phenomena of diffraction. It is always a trade-off - to achieve enough DOF to have as much of your subject in focus or produce an image that is not as crisp as it could be.

With respect to macro lenses and for those of you interested in the science behind magnification, the effects on f-stops at particular magnifications, the issue of diffraction etc, the Cambridge in Colour website provides some very useful information. https://www.cambridgeincolour.com/tutorials/macro-lenses.htm

Many advanced macro photographers now use a technique called ‘photo or image stacking’. This allows the photographer to choose an f stop for the ‘sharpness sweet spot’ of the lens (often between f5.6 -f11). Then, by taking a series of shots, firstly focusing on the front edge of the subject nearest the lens, taking a shot, then refocusing a little further into the subject, repeating this exercise until your last shot in the series has the focus point on the rear edge of your subject. Clever software from Adobe (imbedded in Photoshop), Helicon Focus or Zerene Stacker and the like combine the sharp areas of the individual images to produce a final sharp image with a DOF not attainable with a single image capture. The technique is particularly useful for stationary subjects such as fungi and flowers, but less achievable with subjects that move. This technique is allowable under the FIAP/PSA Nature Definition Rules. However, the technique requires a separate article to adequately cover the complexities of it and is outside the scope of a basic introduction to macro photography.

Keeping it steady

While it is tempting to hand hold your setup, and many of you will do so even for static subjects, you will consistently produce higher quality images by attaching your camera onto a sturdy . However, you will find it necessary to hand hold when photographing moving subjects such as insects etc. I use a hand-held technique when photographing dragonflies, damselflies butterflies and moths etc but always use a tripod when photographing a static subject. From a practical standpoint, be aware that your image stabilising function in your lens or body becomes less effective in the macro world. One of my favourite macro subjects is fungi and as they don’t move, I find a tripod support is essential to produce high quality images. Tripods come in all shapes and sizes, but as most fungi tend to either

4 be at ground level or close to it, a tripod that allows a low camera angle is the preferred tool. The centre column found on many tripods will impede your attempts to get your camera close to ground level. A quick fix can be as simple as a reversal of the centre column so the camera hangs upside down or a more elaborate tripod that has an articulating centre column. In addition, tripods with a very short centre column will allow the camera to be positioned closer to the ground. A way of triggering the camera without pressing the button with you finger will greatly assist with sharpness as you eliminate the risk of bumping the camera. You don’t want to introduce any camera movement when using long exposures.

Lighting

Ambient Light:

My favourite light source these days is ambient light – it’s always there and you can readily see where the shadows lie. Any unwanted shadows can simply be filled in by the use of a . Get it right in camera and spend less time in post-production dodging and burning. Approach your subject as you would a portrait with flattering lighting that looks natural. In a dark rain forest where most of my fungi subjects are found, long exposures will be needed. These long exposures will require the camera to be steadied on a tripod. With reciprocity failure no longer an issue with digital sensors, these necessary longer exposures are easily manageable. As with any photography using long exposures, mirror lockup will greatly assist in gaining sharp images. I tend to use ‘Live View’ which does two things, it automatically places the camera into mirror lock up and I can see exactly what my final image will look like on the screen. Cameras with articulating rear screens are very useful and may assist you in not having to lie on the ground to photograph low growing fungi.

Cup Fungi - Ambient light. 100mm macro lens, ISO 400, 2.5 sec @ f22

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Continuous Artificial Light:

Small inexpensive battery powered LED light banks – like those from the hardware stores that seem to be everywhere are an ideal tool if you wish to use an artificial light source. They assist in decreasing exposure times and may also be used to fill in shadows of an ambient light setup. In a very dark forest, a set of two light banks can provide the total illumination for your subject. Again, approach the lighting set up as you would a portrait. As with ambient light you will be able to readily see where unwanted shadows are falling and make adjustments with light source angles or by adding a reflector before pressing the shutter. The downside of this type of lighting is you need to ensure your background receives sufficient light so the final image looks natural and the background does not black and lifeless. For me the downside of artificial lighting is I that don’t seem to have enough hands! Two lights on the subject and one on the background is difficult to manage without an assistant.

Flash:

In a past life when film was king, or more likely multiple flash heads were typically used to light the subject. However, flash illumination suffers from similar disadvantages as continuous artificial light with respect to unwanted shadows and specular highlights. In the digital age you now have the ability to review your image on the back of your camera after making the exposure. This enables you to see where any unwanted shadows or highlights may be and adjust your light source angles.

Above: Use of flash has introduced some specular highlights. 100mm macro lens, ISO 160, 1/200 sec @f22

Right: An example of a subject lit with flash but not taking enough care with the background – note distracting rootlet in top left. 100mm macro lens, ISO 200, 1/80 sec @ f22

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Above left: Two flash technique with low camera angle. 100mm macro lens, ISO 200, 1/125 sec @ f20

Above right: Poor flash technique, too many specular highlights. 100mm macro lens, ISO400, 1/125sec @ f22

My preferred setup for Fungi:

• Camera on tripod with a 100mm macro lens. • Small reflector(s) – can be as simple as a white card or small collapsible portrait type reflectors • Engage ‘Live View’ • Two small plastic groundsheets, one to lie on if need be and one for the camera bag and equipment. Remember, in a rain forest it can be quite muddy underfoot and a groundsheet offers some protection from mud, leeches, scrub itch mites and ticks. (I’ve had them all, but not at the same time-yet!) • Remote trigger for camera (timer on camera is just as good if no electronic remote or tethered trigger available)

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Above: Camera on tripod, reflector to fill in shadows. Shutter release via wireless trigger.

Right: Resulting image from subject above. Ambient Light - ISO 320, 2 secs @f16

Tips and Tricks when photographing Fungi.

• Look for Suitable Subjects: - When wandering in the forest you will soon realise that not all fungi present with a pleasing composition, so move on to another group that does. Pairs, groups of three work well to my mind. Groups of five can work well – any more than that and you tend to lose a primary centre of interest. • No need to fill frame with your subject – backing off from your subject will allow you to gain a little more DOF as you increase your subject to sensor distance. • Watch your back ground – especially if using flash or artificial light – small reflective elements in your background may become very obvious or worse, intrusive in your image. This frequently occurs if it has been raining and the subject and background are wet. While the FIAP/APS nature definition will allow some dodging to reduce a specular highlight, you are NOT allowed to clone it out. So, get it right in camera and reduce the need for dodging in post-production. ‘Busy’ backgrounds will take attention away from your main subject. Because you are looking at your subject through the widest on your lens when you are your subject, elements in the background that look out of focus will come more into focus when the lens stops down to your chosen f-stop at the time of exposure (e.g. f16- f 22).

So, pay close attention to the background. Sometimes, simply adjusting your camera angle will remove distracting background elements by eliminating them from the .

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Above: Examples using two flash heads. 100mm macro lens, 1/160 sec @ f22

Above: Two flash heads. 100mm macro lens, ISO 125, 1/125 sec @ f29

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Above left: Two flash heads. 100mm macro lens, ISO 100, 1/160 sec @ f22

Above right: Ambient light. 100mm macro lens, ISO160, 25sec @ f22

My preferred setup for Insects:

• My first preference will always be hand-held 180mm macro lens as it gives me that increased distance from lens to subject over say a 50mm or 100mm macro lens.

• However, I have used the following lenses and successfully produced quality images.

o 70-200mm lens with12mm extension tube to reduce minimum focus ability o 100-400mm lens (this lens focuses down to 98cm) o 300mm lens with 12mm extension tube to reduce minimum focus ability

• I will always use a tripod on static insects such as early morning dew covered dragonflies or butterflies. This is because I use natural light which often results in long exposures in the early morning gloom.

• Flash: either a standard speedlight with head slightly tilted down or twin head flash

• I have found the use of a a bit cumbersome as it never seems to be at the correct height and adjusting it just introduces more movement that inevitably ‘spooks’ the insect.

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Above: My ‘walk about’ 100-400mm zoom lens that gets used more for birds has a minimum focus of just under a metre and has delivered quality images of dragonflies on many occasions. Useful for when a macro lens is not at hand.

Above: A 70-200mm with a 12mm extension tube can also deliver quality images.

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Remember, you don’t always need to fill the frame with your subject. The image at left is the actual full frame as captured and is as close as I was prepared to approach without spooking this Robber Fly.

With careful cropping of the image at top, I was able to slightly rotate the image and remove from view that distracting element on the leaf behind the subject. Remember you are not permitted to ‘remove’ elements from an image (by cloning etc) that is entered into APS, FIAP or PSA approved nature competitions. However, the technique of cropping out the distracting element is permitted. The outcome is a more pleasing composition to my eye.

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Tips and Tricks when photographing Insects.

• Technique: A slow but steady approach allows me to capture images of many dragonflies, bugs and butterflies in my area. Insects will ‘spook’ easily if you rush at them in the excitement of the moment. Dragonflies will often have a preferred perch in their territory, so by taking the time to observe their behaviour you can position yourself close to one of those favoured perches. Keep still and make sure you are set up ready to capture your image when your subject returns to that perch

• Fill Light: Even in bright sunlight, I often attach a flash (speedlight) to the camera and dial down the flash exposure contribution to the overall image exposure to assist in filling any shadows. Some flash heads will allow a slight tilting down – useful when working at close distances as more light can fall on the subject rather than being directed over the top of it.

• Framing: As with fungi and for the same reasons, there is no need to fill the frame with your subject and watch your back ground. The latter is much harder to achieve in insect photography as the subect is more in control as it decides where it will land.

In Conclusion:

I hope you enjoy your macro photography as much as I do and please remember our

APS Code of Conduct in

because the welfare of the subject is always more important than obtaining a photograph.

Brian Russell EFIAP FAPS

All images copyright of Brian Russell

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