macro photography assignment

How to Create Breathtaking Macro Photos: The Complete Guide

A Post By: Jaymes Dempsey

Looking to master macro photography so you can capture pro-level shots of flowers, leaves, products, and so much more? While most beginners – and even experienced photographers – struggle to create the kind of macro images they can be proud of, I’m happy to tell you that it’s nowhere near as difficult as it might seem .

I became obsessed with macro photography when I was 15, and I spent the next 10+ years developing tips, tricks, and strategies that everyone can use for great results. While I specialize in floral macro photography, I’ve spent plenty of time capturing a variety of different close-up subjects (including insects, plants, small products, food, and more), and I’ve worked with a slew of different camera setups. Therefore, the techniques I share below aren’t geared toward one specific type of macro subject, and they’ll help you out regardless of your shooting preferences or your equipment.

In this article, I start by explaining the fundamentals that every beginner macro photographer should know. Then I delve into some of my favorite advanced techniques to enhance your macro photos with breathtaking creative effects. Specifically, I discuss:

• The two essential pieces of gear you need to take stunning close-up shots
• The best macro lighting for vibrant colors
• How to create a scrumptious, creamy background blur
• How to capture consistently sharp macro images
• So much more!

Ready to start capturing breathtaking photos of the macro world? Let’s dive right in!

What is macro photography?

Macro photography refers to photographing at high magnifications . This may involve the use of a specialized macro lens, which is designed to capture detailed, close-up photos.

Technically speaking, a true macro photo creates an image on the camera sensor that’s the same size as the scene in real life. This is known as 1:1 magnification . So if you were to photograph an inch-long flower, a true macro photo of the flower would take up an inch of your camera sensor. I captured this next image with a macro lens set at or near 1:1 magnification (in real life, those anthers were tiny !):

But in general, the term “macro photography” is much broader. When I – and most other macro photographers – think about “macro,” it’s a category that includes true macro photos as well as general close-up images of flowers , insects , leaves, food , and more.

For instance, I captured this next image of a cosmos with a macro lens. However, because the cosmos was large, and because I wanted to show the entire flower (rather than just a single petal), I shot at a magnification closer to 1:2, or 0.5x.

Is it a close-up photo? Yes, definitely. Would most photographers happily refer to it as “macro photography”? I think so. But like I said, it didn’t involve 1:1 magnifications, so in a technical sense, it’s a non-macro image.

The same is true of the succulent image below. If memory serves, I shot it at a magnification ratio of around 1:3, so it’s not “true macro photography.” I’d still call it a macro photograph, however!

Common macro photography subjects

It’s a popular misconception to pigeonhole macro photography into a single genre. Rather, it’s an approach to image-making that reveals the fascinating intricacies usually overlooked by the casual observer.

Therefore, macro photography spans a wide range of subjects and can be used in diverse photographic fields. A large number of macro photographers focus on the natural world, using close-up techniques to capture the intricate details of flowers, the delicate veins in leaves, or the vivid colors and patterns of insects.

That said, it’s not just nature photography that benefits from a macro approach. Product photographers use macro techniques to highlight tiny details of products to show the finesse and care that goes into their creation. And even a casual photographer might enjoy capturing macro shots of everyday items around the house; here, the macro lens can tease out textures, lines, and colors that are often overlooked, resulting in arresting images.

If you’re new to macro photography, it’s probably a good idea to start with more conventional macro subjects, such as flowers, plants, and insects. But the joy of photography comes from experimentation and finding your unique point of view. If you want to use a macro approach to explore unconventional subjects, then go for it!

I first became interested in macro photography because I wanted to capture close-up shots of the flowers and insects in my yard. But over the years, I became interested in training my macro lens on other subjects, such as the forest floor (where I like to capture leaves, especially in autumn), snow (when viewed up close, snowflakes are fascinating!), and ice. You can choose to follow my example, or you can strike out on your own path!

Essential macro photography gear

Getting started with macro photography is easy, and you don’t need thousands of dollars worth of gear.

Instead, I generally recommend that beginners purchase two items:

• A close-focusing accessory

It’s a minimalistic kit, sure, and there are certainly other pieces of equipment that can be useful (which I discuss in detail below). But it’s the setup I’ve used for most of my macro photography career, and it’s a great way to delve into the macro approach without breaking the bank.

Let’s take a look at both these pieces of equipment in greater detail:

Choosing a camera for macro photography

It may seem blatantly obvious, but every macro photographer needs a camera.

What kind of camera should you buy? The best macro photography cameras offer interchangeable lenses; these tend to produce the highest-quality photos, and as you become more experienced, you can upgrade your lenses without needing to purchase a new camera. Plus, interchangeable lenses will just make your life a lot easier if you ever decide to shoot landscapes, portraits, architecture, etc., because you can buy lenses specifically for those purposes.

But as long as your camera can change lenses, you don’t need to be picky. Any DSLR or mirrorless model from Canon, Nikon, Sony, Fujifilm, Panasonic, Olympus, or Pentax will work just fine (and there are plenty of other brands not mentioned on that list that will work, too). My first macro photography camera was a 6 MP Nikon D70, and it had everything I needed to start capturing good macro shots (though I will admit, 6 MP is a little low for creating large prints; fortunately, even today’s cheapest DSLRs and mirrorless cameras offer far more resolution!).

And if you don’t want to shell out for a DSLR or mirrorless camera , that’s okay, too. Even a smartphone will let you shoot macro photos, provided you have the right close-focusing accessory, as discussed in the next section:

Choosing a close-focusing accessory

Most cameras cannot automatically focus up close. So in order to capture macro photos, you’ll need some sort of magnifier .

Here, you have a few options:

Close-up filters: an affordable starting point

Need a quick, cost-effective way to get your feet wet in macro photography? Try close-up filters . These nifty tools are essentially little magnifying glasses for your lens, and they mount onto the end of an existing lens (such as a standard 18-55mm kit lens or a 50mm prime ).

One of the best things about close-up filters is their affordability. They offer a very inexpensive entry point into the world of macro photography, making them an appealing option for beginners.

But like most things in life, you get what you pay for. Close-up filters have two main drawbacks: reduced optical quality and limited flexibility. Images taken with close-up filters tend to lack that next-level crispness that serious macro shooters love, and the filters impose a maximum focus distance on your lens, so you can’t capture images from a variety of distances.

Extension tubes: a small step up

Next up are extension tubes , the cylindrical spacers that fit between your camera and the lens, pushing the lens further from the camera sensor. An extension tube or two allows your lens to focus much closer than usual, creating a magnified image on the sensor.

Extension tubes are pricier than close-up filters, yet they offer an affordable and arguably higher-quality option for those dipping their toes into macro photography.

The downside? They can make quickly switching between subjects or different magnification levels a bit challenging. And while they technically don’t degrade image quality, lenses that aren’t designed for close focusing often aren’t as sharp at high magnifications. So you may still notice a reduction in image quality.

Reversing rings: cheap but limited

Next up is a somewhat unusual but budget-friendly option: reversing rings . These special adapters allow you to mount a lens on your camera backward. This simple adjustment effectively turns your lens into a magnifying glass, producing a macro effect.

Reversing rings offer a cheap and intriguing way to dabble in macro photography, but they share the same disadvantages as close-up filters and extension tubes: a potential loss in optical quality and a significant drop in shooting flexibility. Be sure to keep these limitations in mind when considering this option.

A dedicated macro lens: the premium choice

Lastly, let’s discuss the cream of the crop for macro photography optics: a dedicated macro lens. This piece of gear is specifically designed for macro photography and offers unparalleled sharpness and flexibility. Whether you want to create ultra-detailed shots at high magnifications or you’re looking for a powerful lens that can do a mixture of close-up and standard photography, a macro lens is a solid choice. It’s what I personally use for macro photography, and if you’re passionate about shooting the close-up world, it’s a worthy investment.

While these lenses carry a heftier price tag, there are affordable options on the market that don’t sacrifice quality. They’re a worthy investment for beginners serious about macro photography or enthusiasts looking to take their shots to the next level.

There are plenty of great macro lenses to choose from , but the macro lens you buy doesn’t have to be the most expensive or top-of-the-line model. What really matters is its ability to get you close to the subject. Ideally, look for lenses that offer 1:1 magnification for life-size images. However, a lens offering 1:2 magnification can also do a pretty decent job, particularly if capturing tiny details isn’t your main objective. My main macro lens is a Canon 100mm f/2.8 model that is capable of 1:1 focusing, but I’ve also had plenty of macro photography fun with a Lensbaby Velvet that can only reach 1:2 magnifications. I’ve even shot some nice macro images with a standard 50mm f/1.8 lens.

By the way, don’t forget to consider the focal length based on your subjects of interest. A lens in the 80-120mm range is versatile and popular among flower, product, and still-life photographers. I like to work in the 100mm range when shooting flowers and plants, myself; it allows me to get a good working distance from my subjects, and I like the weight of all the 90mm, 100mm, and 105mm macro lenses I’ve tried.

On the other hand, if you’re keen on photographing insects, a longer macro lens in the 150-200mm range lets you keep a good distance so you don’t spook your subjects. Doing insect macro photography with a 100mm macro lens isn’t impossible, but it’s a lot tougher, and if I were going to dedicate myself to serious insect macro shooting, I’d likely invest in a 150mm or 180mm lens.

Finally, for a more budget-friendly and versatile option, a shorter lens in the 30-60mm range works well for a mix of macro and everyday shooting.

Optional macro photography gear

There are a few items that some dedicated macro photographers like to use, yet they’re certainly not essential for certain types of macro shooting.

In fact, there are plenty of serious macro photographers, myself included, who rarely use this type of equipment. But some (or all) of these additional products are necessary if you want to capture certain types of macro photos, like indoor product shots or photos with an extremely deep depth of field, so it’s certainly worth considering.

If you want my recommendation, I would suggest getting started without these accessories. Later on, you may want to consider purchasing them as you identify the types of images that you really want to shoot. But if you’re serious about delving into a specific genre of macro photography right from the start, then here are the items you’ll want to consider:

A tripod will keep your setup stable at high magnifications, and it becomes essential if you want to capture macro images where subjects are sharp from front to back.

You see, in order to achieve such a deep depth of field, you’ll be working with an ultra-narrow aperture, which usually results in a longer shutter speed. In that scenario, a tripod is really the only way to prevent blur due to camera shake.

You generally also need a tripod if you’re using a technique called focus stacking . With this method, you’ll have to maintain a single frame while capturing multiple shots. A tripod ensures that your camera stays in the same position throughout the process.

Now, if you decide to invest in a tripod, go for a reasonably lightweight one. Carbon fiber is your best bet for material, especially if you plan to photograph outdoors. On the other hand, if you only want to photograph in the studio, a heavy aluminum tripod will cost you less without sacrificing stability.

Additionally, look for a tripod that offers flexibility so you can position your camera at all sorts of angles. Ideally, you should purchase one with independently adjustable legs that can get down to just a few inches off the ground.

A macro focusing rail

This accessory might sound a bit technical, but a macro focusing rail can save you a lot of time and effort. It mounts between the tripod and the camera, allowing you to subtly adjust your camera’s position by moving it along the rail track. If you’ve ever found yourself spending lots of time adjusting your tripod position and tripod head angle to nail focus, this tool might be your solution.

A macro focusing rail is particularly handy for focus stacking your macro images. You can set your macro lens to its maximum magnification, frame your shot, and then slowly move your entire camera setup forward or backward while capturing a series of images.

A macro flash

Lighting can be quite challenging in macro photography. For one, increasing the magnification on a lens reduces the light that reaches the camera sensor. Add to that the need to use an ultra-narrow aperture for deep depth of field, and you’ll often find yourself needing extra light on your subject. That’s where a flash comes in handy.

The most popular type of flash among macro photographers is the ring flash. It encircles the front of the lens and casts an even light on the subject. This prevents shadows from being created by the lens barrel, providing balanced illumination.

There are also other forms of flash for macro photography, like twin flashes, which have two heads mounted on either side of the lens.

But I’ll be honest with you; I don’t like to use flashes in my macro photography. Even with diffusers, ring flashes can create results that are too harsh for my taste.

However, if you plan to do indoor studio macro photography, some form of flash becomes essential. A macro-specific flash is the only way I know that you can light your subject from the front without those pesky shadows.

Note: There is one type of artificial lighting for macro photography that I haven’t tried yet, which offers flexible arms that can be positioned independently around your subject. This might be something worth exploring if you are looking to experiment with artificial lighting in your macro photography.

Macro photography settings

Macro photography, while often very artistic, is a technically demanding genre. At high magnifications, light is limited, camera shake is magnified, and setting focus can be a challenge.

For the best results, you need to pay careful attention to your settings when shooting. Here are my three essential recommendations:

1. Set your camera to Aperture Priority or Manual mode

Pretty much every camera offers a series of modes: Aperture Priority, Shutter Priority, Program, etc.

And I highly recommend choosing either Aperture Priority or Manual mode .

Aperture Priority lets you choose your aperture and ISO setting, while your camera chooses the shutter speed. I discuss aperture more in the next section, but taking control over the aperture goes a long way toward creating stunning macro photos.

Manual mode lets you choose the aperture, the shutter speed, and the ISO. Personally, I shoot almost exclusively in Manual mode, as I find it offers the most flexibility and creative control. It can take some getting used to, though, so if you like the idea of shooting in Manual mode but don’t feel comfortable adjusting all your camera settings, start with Aperture Priority, then switch to Manual as you become more experienced.

2. Carefully choose your aperture for perfect depth of field

The aperture is a hole inside your lens that opens and closes depending on your camera’s aperture setting.

Aperture is a key part of exposure (along with shutter speed and ISO). But aperture also affects the depth of field : the amount of your image that’s sharp.

By selecting a small aperture (also known as a high f-number, such as f/16), you’ll end up with a result like this one, where most of the subject is in focus:

And by selecting a large aperture (i.e., a small f-number, such as f/2.8), you’ll end up with an image like this, where very little of the subject is in focus:

Because macro photography occurs at such high magnifications, depth of field is already pretty limited. (The closer you are to your subject, the smaller the depth of field, all else being equal.)

So it’s pretty tough to get a shot with a sharp subject and a sharp background, even if you shoot at f/22. However, you’ll still need to carefully consider your aperture. Certain macro photographers like to keep their entire subject sharp from front to back, and they’ll often shoot at f/13 or f/16.

Whereas other macro photographers like to create a so-called soft-focus effect , where you only get a sliver of your subject in focus.

Neither choice is wrong, and both types of macro photography can look great when executed properly. Just make sure you’re thinking about the aperture for every shot you take. That way, you get the artistic result you’re after.

3. Use manual focusing for the sharpest results

These days, cameras and lenses offer amazing autofocus systems. You can capture birds in flight, cars at high speeds, airplanes taking off, and so much more.

Yet even the best autofocus systems come with a major weakness:

High-magnification focusing.

Unfortunately, autofocusing on objects at macro magnifications is just really hard. Which is why, for the best macro photos, you’ll need to focus manually.

This may sound intimidating, but it’s actually quite easy. Simply switch your lens from autofocus to manual focus (most lenses have a switch on their side). Then turn the focus ring until you achieve the point of focus you’re after.

You’ll get the hang of it pretty quickly. And pretty soon, you’ll want to focus manually all the time!

(Quick tip: If you’re struggling to focus on a close-up subject, try setting your focus first . Then let go of your focus ring and rock your camera back and forth until the plane of focus is exactly where you want it.)

Macro photography lighting

For macro photography, I recommend you start with natural light . Don’t buy any flashes or studio strobes or ring lights, especially not at first.

Instead, take advantage of the sun and all it offers. Here are the two best times of day to do outdoor macro photography:

Cloudy midday

Cloudy light is great for macro photography. It’s soft, it’s flattering, and it makes colors look super vibrant.

Here’s a photo I took on a cloudy afternoon:

Do you see how the colors really pop? That’s thanks to the cloudy lighting.

Unfortunately, cloudy light early and late in the day doesn’t work so well – the sky will be dark, and you’ll struggle to get a nice, bright image. So if the sky is cloudy, make sure to head out toward the middle of the day.

Sunny mornings and evenings

The golden hours – that is, the first hour or two after sunrise and the last hour or two before sunset – are beloved by pretty much all photographers, and for good reason:

They offer soft golden light that looks magnificent .

Thanks to golden hour lighting, I love doing macro photography early in the morning and late in the day. Colors look beautiful, and you can create all sorts of interesting lighting effects:

The one caveat is that the sky needs to be clear. Too much cloud cover, and you’ll lose the beautiful light. Then you’ll have to cope with dim, cloudy light – and as I explained in the previous section, it doesn’t work so well for macro shooting.

Don’t do macro photography when the light is harsh

This is probably the number one mistake I see beginner macro photographers making. If you head out when the light is harsh, you’ll end up with bad exposures, ugly colors, and unflattering shadows, no matter how skilled you are as a photographer.

When is the light harsh?

Basically from a couple of hours after sunrise to a couple of hours before sunset, assuming you have no cloud cover. Midday (i.e., high noon) is the absolute worst for macro photography, but a few hours to either side is also pretty bad, at least at most latitudes.

(If you do have lots of cloud cover, then shooting at midday is completely fine.)

So shoot when the light is good, as discussed above. And avoid shooting when the light is harsh.

Tips for macro photography beginners

Now that you’re familiar with the macro photography basics, I’ll share a few tips and tricks to improve your macro photos.

1. Get close – and go even closer

If I could share one fundamental piece of advice from my years of macro photography, it would be this: Don’t be afraid to really push your lens to its limits.

It’s common for beginners to shy away from their lens’s full magnification capabilities. Sometimes, it might be a good idea to not push your lens to its max, but that should never become a mental roadblock.

Consider that macro photography is often all about showing your subject in a new light. The closer you get, the more unfamiliar and artistic your subject appears.

So each time you approach a subject, challenge yourself. See how far your lens can go. Explore its potential. You might be surprised at the stunning images you can create when you do!

2. Carefully position your subject for maximum impact

I’ve talked a lot about macro settings and lighting, but I’d also like to emphasize a third corner of the macro photography triangle:

Composition .

Composition in macro photography is a huge deal; by positioning your elements in different areas of the frame, you can achieve very different end results. In fact, composition can be the difference between a boring, snapshot-like image and a stunning, please-let-me-print-this-and-hang-it-on-my-wall image. (No joke.)

But how can you create stunning compositions?

I’d recommend starting with the rule of thirds . By positioning your subject a third of the way into the frame, you can achieve a nice harmony while maintaining plenty of visual movement (also known as dynamism ).

You might also experiment with centered compositions, where you place your main subject right in the center of the frame. Centered images tend to look pretty intense, and they work especially well if you have a symmetrical subject.

Once you’ve learned the basic composition guidelines, such as the rule of thirds and symmetrical symmetry, I’d recommend playing around with different image layouts. Find a nice macro subject, then position it in various parts of the frame. You might think about doing macro minimalism , you might try including diagonals, you might consider incorporating triangles or the rule of odds; basically, there are all sorts of different options, so have fun with them!

3. Increase the distance between your subject and the background

At the start of this article, I promised to explain how to achieve beautiful, blurred macro backgrounds . Part of it has to do with using a wide aperture for a shallow depth of field. But there’s another key part, too:

Make sure your subject is as far from the background as possible.

It’s a simple trick, but it makes a huge difference.

Now, you can increase the subject-to-background distance in two main ways:

• You can find a subject that’s far from the background. So if you want to photograph a tulip, find one that’s far from the trees or fence or grass behind it.
• You can change your position so that the area behind your subject recedes. For instance, by getting down low to the ground, the area behind your subject will often change from the grass (near to your subject) and become distant trees or distant flowers (far from your subject). And you’ll get a much better blur.

For the image below, I wanted to create a nice background blur while shooting some grape hyacinths. I didn’t have too many flowers to choose from, so I got low to the ground – I was practically lying face down in the flower bed! – and I shifted my camera back and forth until there was a nice distance between my main subject and the flower behind it. This was the result:

4. Frame your subject against the sky for gorgeous backgrounds

In macro photography, the background often matters as much as the subject. A good background will complement the main focus of the shot by adding color, bokeh, or negative space, whereas a bad background will clash with the image’s subject and distract the viewer.

There are a number of great techniques for leveling up your backgrounds, but one of my all-time favorite methods is to get down low so that my subject is framed against the sky. This can work at pretty much any time of day – on cloudy days, you’ll get a lovely white background, for instance – but I really recommend using the approach at sunrise and sunset.

You see, by carefully adjusting your camera angle, you can photograph your macro subject against the orange or pink sky created by the setting sun. I captured this image of a dandelion seedhead using that precise method:

A note of caution: Don’t look through your camera directly at the sun, especially at high magnifications. If you’re using a DSLR, I’d really recommend switching to Live View (where you shoot with your camera’s rear LCD).

But as long as you’re shooting safely, you’ll have a lot of fun!

5. Try selective-focus techniques

One technique that can truly transform your macro photos is selective focusing. It’s when you employ a wide aperture, like f/2.8, to create a shallow depth of field – then you deliberately position the focus on a particular part of your subject.

Let’s say you’re photographing a flower. With selective focusing, you can adjust the focus to only highlight the edge of a petal. The rest of the flower and the background blur into a soft wash of color, drawing attention to the sharp detail of the petal edge.

This technique can result in breathtaking, artistic images, but it does require a healthy dose of patience and persistence. Your initial shots may not turn out as you imagined, but don’t let that deter you. Continue experimenting, take multiple shots of each subject, and don’t be afraid to play with different focal points! You’ll eventually end up with some outstanding shots.

6. Try focus stacking

I must admit, I have a soft spot for shallow-focus macro photography. There’s something enchanting about having a small part of your subject in sharp focus while the rest fades into a dreamy blur. However, I understand this isn’t everyone’s cup of tea, and it may not always serve your photographic purpose, especially if you’re showcasing a product or composing a still-life shot.

In such scenarios, you’ll likely want your entire subject to be in sharp focus. One way to achieve this is by using a narrow aperture. Dialing down to f/8, f/11, or f/13 can often give you more depth of field to work with, resulting in sharper images.

But what if an f/13 aperture doesn’t give you enough depth of field for a sharp subject? This can often happen when you’re dealing with a subject featuring lots of depth – like a coneflower with petals reaching out in all directions – or you’re aiming to shoot at extremely high magnifications.

One option is to narrow the aperture further, but not all lenses even offer apertures past f/16, plus an ultra-narrow aperture will lead to a phenomenon known as diffraction , which will soften your images.

So I recommend an alternative: focus stacking.

Focus-stacking involves capturing a series of images, each with a slightly different focus point. While a single photo might only have a portion of your subject in sharp focus, the set of images, when combined, encompasses the whole subject. Using post-processing software, you can stack these images together to create a final file that displays your entire subject in sharp focus.

(There are plenty of software options available for this, including more generalist programs like Adobe Photoshop as well as dedicated stacking software like Helicon Focus.)

A few words of caution: focus stacking can be time-consuming, particularly for beginners. Also, keeping your camera still throughout the process is vital – a tripod is a big help here. A focusing rail can also be beneficial, allowing you to subtly adjust focus between shots by moving your entire setup.

One last thing to remember: If you’re photographing outdoors, avoid this technique on windy days. A gust of wind can move your subject and ruin the shot. However, with practice and patience, focus stacking can produce macro images with a depth and clarity that’s hard to achieve otherwise!

7. Try freelensing for creative macro photos

I want to share one of my favorite methods for artistic macro photos: freelensing .

The term might sound a bit technical, but the process is simple: in freelensing, you disconnect your lens from your camera. You then hold the detached lens up against the lens mount and tilt it back and forth as you take your shots.

This maneuvering creates an effect similar to a tilt-shift lens – where the plane of focus hits the subject unevenly – resulting in beautiful and mesmerizing background bokeh. This is the type of macro shot you can get relatively easily with a freelensing technique:

One of the many advantages of freelensing is the ability to achieve close-up shots with a non-macro lens. This is because, by pulling the lens slightly away from the camera, the image is magnified.

Additionally, if you allow some light to seep through the opening between the lens and lens mount, you can create cool light-leak effects. (Just remember not to cover the gap with your hand if you’re aiming for this look!)

Of course, every technique comes with its own challenges, and freelensing is no different. The biggest concern is that you’ll drop your lens or camera; you also risk allowing dust and dirt to reach the sensor.

Therefore, when I freelens, I prefer using my older backup camera and a relatively cheap 50mm prime lens. I also avoid freelensing in harsh weather conditions or in dusty or sandy areas (and I recommend you do the same!).

8. Use the broken-backlighting technique for beautiful bokeh

Broken backlighting can help you create stunning macro images with spectacular bokeh.

Let me explain how it works:

First, position yourself between the sun and your potential subjects. Then adjust your angle until there is something that breaks up the backlight – tree leaves work great for this purpose, but you could also use tree branches, bushes, or grasses in fields.

Next, widen your lens aperture and get close to your subject. Get down low so that the “broken” backlight is situated behind your subject, then take some photos.

And voila! The small sources of light created by the broken backlight will turn into enchanting bokeh, and your macro shots will feature lovely backgrounds like this:

Super macro photography

While this guide is all about macro photography, it wouldn’t be complete without mentioning its intense sibling – super macro photography . This is a different beast altogether, involving techniques that go beyond standard macro photography so you can capture subjects at even greater levels of magnification.

Super macro photography typically requires a controlled environment, a tripod, and artificial lighting. Serious super macro photographers often use specialized lenses that offer ultra-high magnifications. But there’s another approach that doesn’t require a specific lens: a reverse-mounting technique. This involves joining two lenses together, with one facing the correct direction and the other facing backward.

Common subjects for super macro photography are often small objects with intricate details. Insects (usually dead), leaves, flowers, and snowflakes all make for excellent subjects.

But don’t let that limit your imagination. The world of super macro photography opens up the door to a universe of unseen details, so feel free to explore and experiment.

The complete guide to macro photography: final words

Here’s the truth: Macro photography isn’t about having the most expensive equipment or mastering highly technical skills. It’s about seeing the world from a new perspective and being willing to get close – even closer than you might have thought possible.

Whether you’re just starting out or looking to sharpen your skills, the techniques I’ve shared here can help you elevate your macro photography game. Focus-stacking, getting ultra-close, exploring different subjects – all of these can bring your work to a whole new level.

At the end of the day, however, the key isn’t to follow a strict set of rules. It’s to experiment, persevere, and have fun. That’s when you’ll discover what macro photography is truly about, and you’ll start creating the kind of images that blow you away. I can’t wait to see where your macro photography journey takes you!

Now over to you:

Do you have any macro photography photos that you’re proud of? Share them in the comments below!

A note on authorship: This article was updated in April 2024 using original contributions from Barrie Smith .

Table of contents

Macro photography.

• Getting Started Guide to Macro or Close-Up Photography
• 5 DIY Macro Photography Hacks for Stunning Macro Photos (on a Budget)
• 7 Different Ways to Approach Macro Photography
• 5 Rules in Macro Photography and When to Break Them
• 5 Surprising Macro Photography Ideas to Jumpstart Your Creativity
• 5 Quick Tips for Outdoor Macro Photography
• Five Common Macro Photography Mistakes and How to Fix Them
• Backyard Macro Photography Safari
• 5 Macro Photography Tricks to Make Your Images Stand Out
• Sometimes Close-ups Are Better From Far Away
• 5 Camera Settings That All Macro Photographers Should Know
• A Guide to Working with Different Focal Lengths for Macro Photography
• 3 Ways To Get Sharper Close-Ups
• Tips for Depth of Field Control in Macro Photography
• Does Mirror Lock-Up (MLU) Help Macro Shots?
• A Step-by-Step Guide to Using Light in Flower Photography for Awesome Photos
• Lighting Tips for Macro Photography
• How to Use Natural Light for Macro Photography
• How to Create Gorgeous Flower Images using a Flashlight and a Reflector
• The Cheapest and Easiest Lightbox for Macro Photography
• How to Use a Reflector and Diffuser to Enhance Flower Photographs
• Macro Lighting Advantages Of The Canon Twin Lite MT-24EX
• Guide to Choosing Subjects and Compositions for Flower Photography
• 5 Tips for Killer Macro Backgrounds
• Reverse Lens Macro Photography: A Beginner’s Guide
• 6 Tips for Near-Macro Photography with a Telephoto Lens
• Macro Photography on a Budget: An introduction to Close-up Filters
• Getting Up Close with Close-Up Lenses
• How to do Extreme Close-Up Photography with a Macro Bellows
• Macro Photography Tips for Point and Shoot Digital Cameras
• How to Shoot Abstract Flower Photography using Close-Up Filters
• Extension Tubes: Close Up Photography Lesson #2
• How to Choose the Perfect Macro Lens
• Macro Photography on a Budget
• Alternatives to Buying a Dedicated Macro Lens for your DSLR
• Mirrorless, DSLR or Point and Shoot: Which Camera is Best for Macro Photography?
• Cheat Sheet: Macro Lenses – How Much Magnification Do You Need?
• Equipment for Macro Photography – Video Tips
• 10 Flower Photography Tips for Gorgeous Results
• A Beginner’s Guide to Photographing Flowers
• How to Photograph Beautiful Winter Snowdrops (or Other Flowers)
• A Beginner’s Guide to Abstract Flower Photography
• How to take Great Flower Photos without a Macro Lens
• How to Shoot Super Macro Photos
• Just Dew It – Fun with Macro Dewdrop Photography
• Getting Started with Abstract Macro Photography
• Abstract Macro Photography Idea
• Tips for Doing Macro Underwater Photography
• 8 Tips for Photographing Wildflowers
• How to do Photography of Frozen Flowers
• Unique Flower Photography Using Multiple Exposures
• Creative Macro Photography – Using Fairy Lights
• Creative Macro Photography – A Guide to Freelensing
• Photographing Flowers with The Bucket Method
• How to Focus-Stack Macro Images using Photoshop
• How to Give Your Macro Photography a Fine Art Touch in Post-Processing
• Why You Need to Know the History of Flowers in Art and Photography
• 27 Amazing Macro Snowflake Images Shot with a DIY Camera Set Up
• It’s a Bug’s Life – 27 Super Macro Photography Images
• 41 Delicious Flower Photographs
• 20 Spectacular Macro Photography Examples
• 9 Breathtaking Macro Images by Photographer Miki Asai
• Behind the Scenes of Marvellous Macro Insect Imagery
• It’s a Small World – the World of Macro Photography
• A Collection of Photos of Nature’s Smallest Creatures – it’s a Bug’s Life

Read more from our Tips & Tutorials category

is the Managing Editor of Digital Photography School, as well as a macro and nature photographer from Ann Arbor, Michigan. To learn how to take stunning nature photos, check out his free eBook, Mastering Nature Photography: 7 Secrets For Incredible Nature Photos ! And to see more of Jaymes’s work check out his website and his blog .

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Macro Photography: A Complete Guide

If you are interested in macro photography, this article will provide you with all the necessary information. It covers everything from the equipment you need to the techniques you can use to capture stunning close-up shots. Whether you are a beginner or an experienced photographer, this guide will help you take your macro photography skills to the next level.

Many photographers today want to know how to take macro pictures, thanks to a growing number of beautiful images online of small plants, animals, and insects. Macro photography is not always easy, especially for beginners, but it is one of the most rewarding genres of photography you can do. With the right skills, you will be able to capture amazing images even in your own backyard. To learn macro photography from start to finish, you should begin by reading the tips and techniques in this guide, taught by an award-winning macro photographer exhibited at the Smithsonian Museum of Natural History. By the end, you will know exactly how to put these recommendations into practice and capture stunning macro photographs for yourself.

Before anything else, if you’re more of a visual learner, you may want to watch the following video we created to introduce macro photography. It covers many of the same topics as this article, although some sections have been shortened for the sake of video length:

Table of Contents

What Is Macro Photography?

Macro photography is close-up photography of small subjects, including things like bugs and flowers. You can take macro pictures in a studio or outdoor environment so long as you are magnifying your subject sufficiently.

Officially, you may hear that macro photography only happens when you take pictures of small subjects with a magnification of “life size” or greater. I will cover more about the meaning of  magnification  and  life-size  in a moment, but essentially it means that you must take pictures where your subject is the same size as your camera sensor or smaller, and it fills the frame. (So, if your camera sensor is one inch wide, you would be photographing something 1 inch or smaller.)

That is a very strict definition, and frequently you will hear photographers call an image “macro” even when it shows a slightly larger subject. The same is true of the photos in this article, many of which do not fit this technical definition, but they are close-up photographs nevertheless.

Introducing Macro Photography for Beginners

How do you take macro photos? Here are the most important steps:

• Understand macro photography terminology.
• Pick the right camera and lens equipment.
• Get enough depth of field.
• Pick camera and flash settings for a well-lit photo.
• Focus on the most important part of your subject.
• Learn the common behaviors of various insects.
• Compose and take your picture.

Some of these are harder to do than you might think, such as getting enough depth of field and focusing on the most important part of your subject. However, the tips in the rest of this macro photography tutorial will give you a good idea of where to begin, and you should be able to master everything with a bit of practice.

What Is Magnification?

In macro photography, it is important to know how large or small your subject appears on your camera sensor. Comparing this number versus your subject’s size in the real world gives you a value known as your  magnification .

If that ratio is simply one-to-one, your subject is said to be at “life size” magnification. For example, if you’re photographing something that is one centimeter in length, and it is projected exactly one centimeter onto your camera sensor, it is at life size (regardless of the size of your camera sensor).

Typical sensors in DSLRs and mirrorless cameras range from about about 17 millimeters to 36 millimeters across. So, a 1 cm subject is pretty big by comparison, taking up a significant portion of your photo. If you end up making a large print, that tiny object will appear huge – potentially billboard sized!

To make things easier to understand and compare, macro photographers use an actual ratio rather than always saying “life size” or “half life size.” Specifically, life size is 1:1 magnification. Half life size is 1:2 magnification. Once you get to about one-tenth of life size, you arguably are not doing close-up or macro photography any more.

Good macro lenses let you shoot at 1:1 magnification, and some specialized options do even more than that. (Canon has a macro photography lens that goes all the way to 5:1, or 5x magnification, which is insane!) However, other lenses on the market called “macro” may only go to 1:2 magnification or even less. Personally, my recommendation is to get a lens that can go to at least 1:2 magnification, and ideally 1:1 magnification, if you want as much flexibility as possible.

What Is Working Distance?

Working distance is easy: It’s the distance between the front of your lens and your nearest subject. If your working distance is too small, you might end up scaring your subject or blocking the light simply because you are too close. Ideally, you will want a working distance of six inches (15 centimeters), with the best case scenario being twice that or more.

The working distance of a lens is smallest at 1:1 magnification, since you obviously must be as close as possible to your subject to capture such extreme photos. Also, lenses with a longer focal length have more working distance than lenses with a more moderate focal length. For example, the Nikon 200mm f/4 and the Canon 180mm f/3.5 are two examples of macro photography lenses with large working distances. By comparison, the Nikon 60mm f/2.8 macro lens has much less working distance.

It is always best to look for a lens with the largest possible working distance so that you are less likely to scare your subject or cast a shadow on it. However, macro lenses with a longer focal length like 180mm or 200mm are generally more expensive. If you want to balance price and working distance, consider a lens in the range of 100mm to 150mm. Personally, I use a 105mm macro lens.

Best Cameras for Macro Photography: DSLR vs Mirrorless

For macro photography, both DSLRs and mirrorless cameras can work very well. The key is to pick a camera that lets you use a good macro lens, and ideally one which has as little lag as possible between seeing your subject, pressing the shutter button, and having the image recorded. Traditionally, these both were areas where DSLRs held an advantage, due to lagging electronic viewfinders and fewer native macro lenses on mirrorless cameras. Today, those differences are generally negligible, and sometimes lean in favor of mirrorless.

Mirrorless cameras also frequently have other benefits that you might find useful, such as focus peaking (an overlay that shows which parts of your subject are in focus – helpful for manual focus macro photography). Also, the ability to review your photos without taking your eye from the viewfinder is valuable if you want to judge things like sharpness and flash exposure quickly.

The only thing I would caution is that, if you do pick a mirrorless camera, you should get one with an electronic viewfinder. Trying to compose and hold a macro photo steady with a rear LCD screen, especially at extreme magnifications like 1:1, is a nightmare. Since mirrorless cameras with electronic viewfinders frequently cost more than a competing DSLR, you might want to pick up a DSLR (potentially a used one) if you are on a budget. But all of this is very picky. Regardless of the camera, you will be able to get some excellent photos – and you will never find a camera that guarantees a perfect keeper rate for such difficult subjects!

Best Cameras for Macro: Full-Frame vs Crop-Sensor

If your goal is to create photos with the highest magnification possible, full-frame cameras are usually overkill for macro photography. Even the Nikon D850 with 46 megapixels cannot match the potential macro detail of the 20 megapixel Nikon D7500, simply because the D7500 has a slightly higher pixel density.

With macro photography, the highest pixel density (most pixels per square millimeter of the sensor) is what determines the maximum detail you can get on your subject. The D850’s large sensor has fewer pixels per millimeter than the crop-sensor D7500, despite having more total pixels. In many genres of photography, larger pixels – and more total pixels – are preferable. With 1:1 macro photography, though, it’s all about pixel density. The reason? When you crop a D850 photo to match images from the D7500, you lose enough pixels that the D7500 wins (though not by much).

Still, full frame cameras are great for macro photography. You shouldn’t think otherwise. If you take photos that aren’t at maximum magnification, they still have all their usual benefits over smaller sensors. So, a full-frame (FX) camera is still generally better for macro photos than a crop-sensor (DX or aps-c) camera, but by a smaller amount than in other types of photography.

Best DSLR for Macro: Canon vs Nikon

For almost all genres of photography, Canon and Nikon (and Sony, and others) are so close in quality that arguments about which is “better” are, at best, extremely picky. Sure, there are differences, but it is rare that any system has a flaw that is fatal for the typical user.

As far as macro photography, this is still true, but you do need to keep some extra considerations in mind. Canon cameras in particular do not calculate  aperture  in the same way that cameras from other brands do. Specifically, when you shoot at high magnifications like 1:1, the Canon cameras will read your aperture value incorrectly. It might say f/11, when everything about the photo ( diffraction ,  d epth of field , and  exposure  included) acts as if you’re shooting at f/22.

That is because aperture, on any lens, starts to do unexpected things at such high magnifications. In short, when your aperture is physically one size, it acts like another. Nikon, Sony, and other manufacturers all tell you the “functionally correct” aperture (f/22 in this case), while Canon does not. So, you need to keep that in mind when you shoot Canon cameras. This is far from an impossible drawback to overcome, but it is important to know about. The more frequently you change magnifications, the more of a problem this is.

In the following sections, I will cover depth of field, focusing, and composition in macro photography. Use the menu below to go to the next section, which covers how to focus for close-up photos – one of the most important (and difficult) techniques you’ll need to learn in order to take good macro pictures.

Depth of Field for Close-Up Photos

For non-macro photography, your subject won’t be especially close to your camera – maybe 5 or 6 meters, or even as far away as the horizon. At these distances, a normal aperture of f/8 or f/11 typically will render a sharp scene from front to back (aside from extreme telephoto shots, since telephotos have less depth of field).

Macro photography is different. When you take close-up photos, you naturally end up with very little depth of field, even at small aperture values. At 1:1 magnification, your depth of field may be so thin that you can’t get a fly’s head and feet both to appear sharp at the same time, even though they are just millimeters apart!

The thin depth of field is related to another challenge of macro photography: You don’t have much light. Why not? There are four main reasons why you’ll have to work with very little light in macro photography:

• Your camera itself usually blocks some natural light.
• Your flash might not point at the right angle to illuminate your subject.
• Apertures like f/11, f/16, or smaller are necessary in order to get enough depth of field, but they reduce light.
• You’ll need to be at very fast  shutter sp eeds  in order to reduce blur from camera motion (which is magnified for close-up photography), also darkening the image.

With all these issues together, your close-up photos can look like you’ve left on your lens cap in the middle of the day. So, how do you balance depth of field with capturing enough light? There are a few ways, each with their own compromises.

Method 1: Open Up Your Aperture

You may choose to live with a thin depth of field for your macro photography – to the point where you won’t be able to get an entire ant head to appear sharp at the same time. If that seems fine to you, just open your lens’s aperture as wide as possible (or only slightly stopped down – something from f/2.8 to f/5.6), and you’re set to take macro photos.

The benefit of this approach is that you don’t have to worry about complex lighting setups or software fixes to make your macro photos look good, since you’ll generally capture enough light to make things work. The downside is that it becomes nearly impossible to focus your lens handheld at the closest magnifications, since there is essentially no depth of field.

For that reason, this method works best if you are trying to take photos of subjects that are a bit larger, in the range of 1:4 to 1:10 magnification. However, I do not recommend it if you want to take life-size photos at 1:1 magnification.

Method 2: Stop Down and Use a Flash

The next method (and the one I use the most) is to stop down the aperture to a small value. By small, I mean f/16 or f/22. The upside to using such a small aperture is that it is easier to get your subject to appear in focus – though still tough – and your depth of field becomes manageable.

However, a flash is essentially mandatory with this method, since you are losing a huge amount of light. On top of that,  diffraction  starts to have a noticeable impact on the sharpness of your photos. Still, it is important to keep in mind that an f/22 image with diffraction looks  far  sharper than an f/4 picture without any depth of field.

Method 3: Stack a Set of Macro Photos

Another method is focus stacking. It involves taking your photos at more “moderate” apertures, with lower diffraction but a shallow depth of field (usually f/8 or f/11).

To counteract this tiny depth of field, you take several photos at different focus distances and combine the best parts of each in post-processing. For example, you may take one photo where a bug’s head is in focus, one where the wings are in focus, and a third where the back legs are in focus. Then, you can merge them into a sharp bug photo from front to back. We have a separate  tutorial on focus stacking  at Photography Life as well.

There are two upsides to this method: First, image quality is extremely high, since diffraction is a non-issue. Second, you have the ability to extend your depth of field artificially so that any subject can be completely sharp from front to back, even at especially high magnifications.

The downsides are numerous, however. Focus stacking is typically confined to studio and tripod work because precision focus is required. Another downside is the time involved. For maximum quality, you may need to combine dozens of photos into a single picture, which can take hours of photography and post-processing. You also need specific software to combine focus-stacked images (such as Photoshop or Helicon Focus), with better and more specialized options generally costing more.

The biggest issue, though, is that your subjects need to be completely still. It is possible to find bugs that aren’t moving, but it isn’t always easy. This method works best for plants, or bugs that are drowsy and waiting for the sun to come out (try the early morning).

This is also a fairly costly option, because you will need a decent amount of dedicated equipment. A solid tripod, a tripod head, a macro focusing rail, and special software are all requirements for the most dedicated focus stackers.

Method 4: Tilt Your Plane of Focus

The final way to increase depth of field is to buy a special type of macro photography lens: a tilt-shift. These lenses let you tilt the depth of field along your subject. For example, you may be able to focus simultaneously on a bug’s head and wings, even though both are different distances from the lens. Potentially, you can get an entire bug to be sharp in a single photo at much more reasonable apertures than normal.

There are many downsides here, though. First, tilt-shift macro lenses (like the Nikon PC-E 85mm f/2.8D) cost at least $1000 used and up to $1800 new. They generally don’t focus to 1:1 macro (about 1:2 instead), they only focus manually, and they are difficult to use without a tripod. Lenses like this mainly shine for studio work of non-moving subjects, in which case focus stacking may be the preferable option. That is not to say this method is always a bad one, but that it is very specialized, and most photographers will not find tilt-shift lenses to be the best option overall.

Which Method Is Best to Capture Enough Depth of Field?

Most macro photographers use a combination of the above methods depending upon the situation. Personally, I tend prefer to use a flash and a small aperture for high magnification macro photography. If I am taking pictures of larger subjects like dragonflies and lizards, I will use a wider aperture and shoot in natural light. With practice, though, the key is to realize for yourself which scenarios demand each of these methods, making it easier to set your camera appropriately.

The next step in taking good macro photos is to  focus  properly. I will cover that process on the following page of this tutorial, including some details that may be different from what you would expect.

Focusing Tips for Macro Photography

In high-magnification macro photography, the amount of your subject that is in focus won’t be more than a couple of millimeters, even at a crazy aperture like f/32. It can be tough to place the focus accurately on a bug, considering that your pulse alone probably makes your hands jump more than a couple millimeters. You will want to take your photos between breaths and heartbeats – seriously – or you may find it impossible to get anything in focus.

At this distance, too, the autofocus system in even the newest DSLRs and mirrorless cameras cannot keep up with your hand movements. If you attempt to autofocus at high magnifications, especially something like 1:1, it will be an exercise in frustration. Unless you are using a tripod, it could be impossible for your camera’s focusing system to lock onto a subject.

All is not lost, though. It is still possible to get sharp macro photos at 1:1 magnification, even handheld. I will cover all those techniques below. Note, though, that you do not need to use any of the following information if you are working on a tripod. Instead, you can use autofocus or live-view manual focus without any issues.

The Easiest Technique: Manual Focus

You will almost certainly need to focus manually at 1:1 macro distances, since the autofocus system in any camera cannot work fast enough to counteract your hand movements. However, this may not mean what you think it does.

Some photographers attempt to use manual focus incorrectly for macro photography; they hold the camera as steadily as possible and turn the focus ring left or right to focus, taking the photo when the viewfinder image looks sharp. That simply doesn’t work! This might work fine to focus manually for non-macro photos, but it is not feasible for handheld macro photography. Your hand movements from focusing will make the frame even shakier, and it will become impossible to change focus quickly.

Instead, the best method is to  keep y our macro photography lens fixe d at a certain magnification . Then, slowly rock the camera forward and backward – sometimes on a stick or monopod – millimeters at a time, while looking through the viewfinder. When the viewfinder image is sharp, take the photo.

Although this method is not perfect, it gives me about a 40% keeper rate for 1:1 photos of fly-sized bugs. This may seem low, but it is very difficult to do better without a tripod. With practice, you should be able to improve your keeper rate even further, but even a small ratio of sharp macro photos at the highest magnification is quite an accomplishment.

Focusing Technique at Wider Magnifications

If you aren’t trying to magnify your subject as much as possible, autofocus is generally more accurate for macro photography. If your subject is about ten centimeters (4-5 inches) long, manual focus no longer has any major benefits. I recommend AF-C focusing mode (also known as Continuous or AI-Servo), because your hands still move enough that you’ll want your camera to be adjusting constantly for the best focus at these magnifications.

Aligning Your Macro Subject with Your Depth of Field

As I have mentioned throughout this tutorial, depth of field is very small for macro photography, regardless of your aperture. One way to make the most of a challenging situation is to align your subject parallel to your depth of field as much as possible. In the photo below (not a 1:1 macro, but the point stands), the damselfly is almost entirely sharp, despite the shallow depth of field.

In other photos, you will need to choose which part of the bug “deserves” to be in focus. Generally, this will tend to be the bug’s eyes, since they are the most important parts of an image. However, for certain subjects, you might care more about the wing pattern, such as ladybugs and butterflies. Either way, focusing is a crucial part of macro photography.

Step-by-Step Method of Taking Macro Photographs

One of the best ways to get good at macro photography, or any genre of photography, is to know the exact steps that you need to accomplish, even before you take a picture. In macro photography, a possible set of steps looks like this, if you are trying to take high magnification close-up pictures with a flash as your main source of light:

• Buy a monopod or find a stick.
• Get a strong flash, and use a diffuser to soften the light. If you don’t have a diffuser, the best solution is often to make one yourself. Experiment with cardboard, tin foil, tape, and paper towels (no joke).
• Put a macro lens on your camera and set it to manual focus at your intended magnification.
• Pick the correct exposure settings so that you capture the enough light. If the flash is your main source of light, and you’re shooting at 1:1 magnification, it is a good idea to use the fastest shutter speed that still syncs with your flash (typically 1/200 or 1/250 second). Use an aperture from f/16 to f/22.
• Set your ISO to whatever value gives an accurate exposure of  a leaf when the flash fires in manual mode at roughly 1/4 power . That sounds extremely arbitrary, and it is, but it works well. The simple reason? You’ll want the brightest possible flash to help gather light, but if your flash is much brighter than 1/4 power, it typically will take too long to recharge between exposures. Hence, pick an ISO that results in a flash of 1/4 power most of the time.
• Switch the flash to TTL (automatic) mode. However, even though it’s in automatic mode, you know it will tend to hover around 1/4 power, thanks to step 5!
• To get an accurate exposure, you will need to adjust your flash exposure compensation, potentially by as much as a few stops. It is not uncommon to have flash compensation in macro photography that is something like +2 or even +3.
• At this point, the only “automatic” setting you’re using is auto flash, which will adjust itself depending upon the reflectiveness of your subject. All your other settings – aperture, shutter speed, and ISO – will stay constant. Don’t worry about changing them.
• Put your camera on a monopod or a stick, assuming that it doesn’t interfere with reaching your subject at the right height.
• Find a bug that lands long enough for you to photograph it – hopefully, one that is the size of a housefly or larger.
• Focus (using the manual focus technique covered earlier in this tutorial), and take the picture!
• Watch out for dust spots in the editing stage, and you’re done.

Next up is  composition , which requires some different approaches for macro photography than with normal pictures.

Macro Photography Composition Tips

Even in macro photography, the basics of a pleasing composition remain the same. It is still important to balance the compositional weight of your frame, for example, and you have to exclude extraneous details from your image just as you always do. However, being macro photography, there are some aspects of composition which stand out more than they otherwise would.

Pay Attention to the Out-of-Focus Background

One of the main tips for composition in macro photography is to be aware of the background. Since the background will be far out of focus, it is important to make it look as good as possible and complement your subject. From a low angle, for example, you could get an out-of-focus blue sky in your photo. From a different perspective, your background could turn the color of autumn leaves. Green grass works well with many subjects, too. You can even set up your own background by asking a friend to stand behind your subject while wearing a bright shirt. Be creative!

The photo below grabs attention because the color contrast of the bright orange dragonfly is strong against the green background. Look for contrast like this, and you will have a much better chance of getting stand-out shots.

Also, something interesting can happen with the background in macro photography as you focus closer to your subject. If you use a flash to illuminate a scene at 1:1 or 1:2 magnification, you may find that the background of the image turns dark, if not completely black.

This happens because of a property of light. As your distance from a light source doubles, the amount of light you receive cuts in four. When your flash (or diffuser) is extremely close to your subject, which is true in macro photography almost by definition, the distant background receives comparatively no light at all. A flash is much brighter than daylight, and even the sun at noon may not be strong enough to brighten the background to any noticeable degree. The result is a very studio-style look, even outdoors, like in the photo below (taken on a sunny day in my yard, but with a flash as the only signficant source of light):

On top of all that, it is important to know how certain colors can work to balance each other out, in terms of composition. Reds and oranges stand out and draw the eye’s attention, whereas cooler colors (green, blue, and purple) naturally fade into the background.

Use Angles to Your Advantage

Another tip to remember for macro photography is that the angle of the camera can throw things in and out of focus. According to basic geometry, any three points in space can be connected by one plane, no matter where those points are. The value of this law in photography is that at least three elements of a photo, even if they are different distances from the camera at first, can always be brought into the same plane of focus.

For example, if the three objects are the head of a crab and its two front claws, it should be clear why this suggestion is so important. All you need to do is move around the camera until those objects are within the same plane of focus, and you can capture a photo like the one below, where everything important is sharp:

The Importance of Colors in Macro Photography

Lastly, with macro photography, colors are extremely pronounced. Shooting in your camera’s  RAW format  is always important regardless of your subject, but it is especially crucial to make the most of macro photography’s color detail.

One reason for such vivid colors is that there is very little atmosphere between the lens and the subject when you are shooting close-ups. So, if a lot of haze or fog is in the air, you will get more vivid macro photos than anything else

Also, as you focus closer and closer to your subject, you will start to see tiny color details that normally are not visible. For example, did you know that the compound eye on certain fly species is a rainbow of color? We can’t see any of that with the naked eye, but a macro lens at 1:1 magnification definitely does. Colors are one reason why macro photography is so interesting.

How to Approach Your Close-Up Subject

Bugs are skittish. Dragonflies, for example, tend to scatter when anything enters their field of view, and smaller bugs just fly whenever they feel like it. Approaching a restless bug is as much luck as it is science. Still, there are some techniques that you can put into practice to improve your chances. These tips will vary depending upon the specific type of bug you photograph.

For dragonflies and damselflies, it is best to move slowly and approach while rocking gently side-to-side. Dragonflies instinctively fly when anything moves directly towards them or directly away from them, sometimes even if that movement is slow. However, sideways motion does not affect the dragonfly much at all. Try taking a small and slow step forward, rocking (slowly) side-to-side for several seconds, then taking another step forward. If you wait ten or fifteen seconds between steps, the dragonfly may forget that you exist. Using this technique has allowed me to get great macro photos incredibly close to a dragonfly.

Bees, on the other hand, do not get scared easily. They are always very focused on their task, and they will only leave a flower after they’ve gotten enough pollen. Don’t make wild movements, of course, but you don’t need to be obsessively slow and quiet. The hardest part about photographing bees is they rarely sit still. To get a good bee photo, it is easiest to pre-focus on one point on a flower, then wait for a nearby bee to crawl over that area. It may still take some time, depending upon the willingness of your subject.

Flies are a bit more skittish, but still easy enough to photograph. The best part about flies is that they typically do not react to slow movement in any way. They are easy to approach without scaring away. Just be sure to avoid sudden movements, and change your camera settings slowly. The only annoying thing about photographing flies is that they don’t like to stand in any one place for long. So, approach flies quickly, but be slow and deliberate about it. Easy enough?

With non-flying bugs, you clearly do not need to worry as much about scaring them away. Ladybugs, grasshoppers, and some ants, for example, can fly, but they typically do not. At the very least, they aren’t really scared by photographers (with grasshoppers being the most skittish of the bunch). The issue is that these bugs tend to walk very quickly, making it tough to focus on them.

Butterflies are very sensitive if you move in close, but they are easy to stand back and photograph due to their size. If you find a butterfly staying in one place for long enough, you generally have a good opportunity to capture a nice close-up picture.

Spiders are a photographer’s best friend. Most of them hardly move at all, and they are large enough to get in focus relatively easily. Spider webs can look great in photos – say, with raindrops backlit by the sun – but some webs are just distracting. Try photographing jumping spiders, since they rarely move, and they look “cuter” up close than most spiders. Not to mention, they are almost completely harmless (they rarely bite, and it’s not even as bad as a mosquito bite if they do).

For tiny bugs, your best hope is to avoid getting your shadow over them. This is a good tip for approaching most of these creatures, but tiny insects in particular tend to ignore you if you don’t stand between them and the sun. However, the smallest bugs are also the only ones which seem affected by the flash from a camera. Some will jump every time that you fire your flash, and they’re usually faster than your camera shutter delay, so you end up with an empty frame! That’s just another example of how fascinating some of these little creatures are.

A Quick Plea for Ethical Macro Photography

We at Photography Life would like to issue a strong suggestion not to harm your macro subjects. In a surprisingly large number of macro photos today, photographers literally put their subjects into a freezer overnight, then stage photos in an all-too-perfect studio environment (complete with mushrooms, “rain” from water bottles, and perfect pools of water) to get otherworldly images.

The resulting macro photos are annoyingly cliché, dull, and harmful to the reputation of macro photographers as a whole – and to the critters you photograph. Not to mention that such photographers very frequently get called out publicly and end up with a string of negative articles associated with their business. If you are intrigued by the wonderful field of macro photography, and the incredible habits of small bugs and critters, we urge you not to be one of these people.

Summary and Final Macro Photography Tips

Hopefully, this tutorial has set you on the right path to begin taking beautiful macro photos. The technical aspects of macro photography are certainly important, but, as with most genres of photography, the practical considerations of composition and finding subjects are far more relevant to creating great photos – and, with macro photography, the best subjects are perhaps no farther than your backyard. If you can brave some dirt and mosquitoes, you’ll be able to find hidden treasures almost anywhere.

Finally, here are some macro photography tips and ideas to help you get started:

• Look for subjects beyond just bugs and plants.  You can take fascinating macro photos in a studio of anything from pencils to droplets of water. I have seen some exceptional macro photographs of silverware against a stark background.
• Stake out ponds and streams.  Bugs need to stay hydrated, too, and many of them love being around waterways. If I can’t think of where to go to take good macro pictures, I always head to a nearby source of water.
• Keep the seasons in mind .  In winter, there may not be as many bugs to photograph, but you could have an entire world of ice and snowflake photography to capture instead, depending upon where you live.
• Start taking macro pictures early in the day.  At sunrise, you will find bugs waiting with droplets of water for the sun to rise. That is how I captured some of my best macro photos.
• Wear long sleeves .  As much as I like bugs, I don’t like it when they bite. If you are taking pictures of small creatures, there is a good chance that mosquitos and other biting insects will be nearby. Wear long sleeves, closed shoes, and a head net in bad conditions. Also, consider gloves, even when it is hot, if you are in mosquito territory. I generally recommend that you avoid bug spray, in part because you may scare away the very creatures you are trying to photograph!
• Put effort into lighting.  Not all flash photography is equally good. It takes some trial and error to get a good lighting setup that looks natural, and going with your first attempt may result in photos that look fake and unnatural. The image below was lit entirely by my flash, but the light is still very pleasant.
• Have fun with your macro photography!  This is one of the most enjoyable genres of photography you can do, but it is easy to get frustrated at first. Again, even under the best possible conditions, my keeper rate for handheld 1:1 macro photos is less than 50%, and I have been doing this for a while. Even two or three sharp images is a huge success, and you will improve very significantly with practice.

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Intro to Macro Photography

By the end of this course you'll be able to

• Define what "macro photography" is
• Understand macro ratios
• Determine which macro photography gear is best for you
• Understand the focus & exposure modes best for macro photography
• Build an indoor macro studio
• Capture macro photos outdoors in nature

What's included:

Short, to-the-point videos help you learn what you need to know in bite-sized chunks without extra filler.

PDF download

Download a PDF of the course outline to review what you've learned offline.

3 Assignments

Submit three optional macro photography assignments for instructor feedback.

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I'm an Air Force veteran and pilot by trade, having flown the F-15E for nearly ten years, including 114 combat missions in Afghanistan. Then in a major life change, I bought a 27-foot sailboat and sailed from North Carolina to the Caribbean over a few years.

My journey as a professional documentary photographer also started on that adventure, networking with important nonprofits that desperately needed photography to get their message out. I've completed photodocumentary projects for several humanitarian & environmental nonprofits & NGOs around the world since 2014.

I teach in-person photography lessons in between documentary trips, and the continuous demand for lessons led me to start offering online lessons. It has been a joy to make these classes available to everyone.

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Peltier Photo Courses

Intro to macro photography.

Discover an entire new world with this introduction to macro photography course.

Macro Photography Course Objectives

• Define what "macro photography" is
• Understand macro ratios
• Determine which macro photography gear is best for you
• Understand the focus & exposure modes best for macro photography
• Build an indoor macro studio
• Capture macro photos outdoors in nature

Short, to-the-point videos help you learn what you need to know in bite-sized chunks without extra filler.

Download a PDF of the course outline to review what you've learned offline.

Submit three optional macro photography assignments for instructor feedback.

Live chat and email support.

Macro Photography Course Curriculum

Welcome to intro to macro photography.

Welcome to the Course!

Virtual Classroom Orientation

Student Survey

Preparation for Macro Photography

What Makes Macro Different?

Gear for Macro Photography

Macro Focusing Considerations

Additional Macro Camera Settings

Creating Macro Photography

Your First Macro Photographs

Assignment (Optional): Indoor Macro

Macro in Nature

Assignment (Optional): Outdoor Macro

Focus Stacking

Assignment (Optional): Focus Stacking

Next Steps in Macro

Incorporating Macro into your Photography

Download: Intro to Macro

Course Review & Feedback

About this course

• Skill Level: Beginner to Intermediate
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Discover a Whole New World

Understanding macro photography will open up an entire new world of creativity to you. A world that can be endlessly explored without leaving your own home. This macro photography course will introduce you to these techniques.

Great introduction to macro

Justin costley.

I'm so glad this course was added. Not having the time to go out and practice my desired nature/wildlife photography has led me to macro. And this course was...

I'm so glad this course was added. Not having the time to go out and practice my desired nature/wildlife photography has led me to macro. And this course was perfect for introducing me to the style.

Excellent and Informative Course

Michelle friars.

As is the case with every Peltier Photo Course I have taken, the Intro To Macro Photography videos were highly professional and well done. Explanations are a...

As is the case with every Peltier Photo Course I have taken, the Intro To Macro Photography videos were highly professional and well done. Explanations are always clear, thorough, and easy to follow. I took the course because I was curious about macro photography. I ended up excited and deeply committed to practicing and learning more.

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52 Assignments: Macro Photography Hardcover – February 1, 2023

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• Print length 128 pages
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• Publisher ‏ : ‎ Ammonite Press (February 1, 2023)
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David Taylor is an award-winning landscape and travel photographer, who was born and raised in Newcastle upon Tyne and now lives in the ancient market town of Hexham, Northumberland. He took his first photograph at the age of 14, when his parents gave him a Kodak Instamatic for Christmas, and he has been taking photographs ever since. David's work has taken him all over the world, from the sun-kissed beaches and aqua seas of Zanzibar to the bright chill of northern Sweden in the depths of winter. But his first love remains the wild countryside and rugged coastline of his home county of Northumberland, which he has photographed extensively, and which he continues to delight in exploring. David has also written and contributed to more than twenty books about photography and photography techniques, some of which have been translated into French, Spanish and Chinese. Most of David's books have been published by Ammonite Press. www.davidtaylorphotography.co.uk

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Heather Angel

Macro Photography

Includes personal feedback and tuition. More

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Course Description

Photographer Heather Angel teaches you the art of macro photography, from using your camera for macro photos to finding creative inspiration for the best close-up shots.

What is Macro Photography?

Macro photography is the art of producing photos of small objects (often every day items or insects) at a larger than life size. When you take macro photographs you'll often reveal unexpected shapes, colours or patterns and details you can't see with the naked eye.

Heather will share her secrets behind some of her memorable macro shots and offer tips and hints for shooting macro outdoors and inside.

The great thing about working at close range is that macro photography subjects are everywhere, you just have to develop a seeing eye for beauty, texture and design.

You'll learn:

• choosing the right equipment
• using ambient light (and modifying light)
• using depth of field creatively
• time-lapse photography
• focus stacking

Images range from flowers, leaves, seeds, fruits and aquatic life to coins, glass, jewellery and food. Amongst these are examples of patterns and designs.

You will appreciate just how effective a reflector, a diffuser or fill-flash can be at changing the light; how to use depth of field creatively and how to meter tricky low key and high key subjects.

You'll also learn how to work safely at night and how to set up a mini macro studio on a table for still life studies; also how to gain a white background for objects to display on websites or for promotional photos.

Time to complete this macro photography course:

Every student is different but in general we think the whole course will take around 13 hours 35 minutes to complete including:

• Video lessons: 1 hour 35 minutes in total
• Course notes: 30 minutes per lesson
• Assignment: at least 2 hours per lesson
• Interactive classroom time: 15 minutes per lesson
• tutor feedback review (Expert level): 15 minutes per lesson

The course includes:

• On-demand video lessons - presented by Heather Angel
• lifetime access to the video, notes and interactive class
• flexible classes - join and learn when and where you like
• downloadable lesson notes
• practical (optional) macro photography assignments
• access on your mobile, PC, Mac or laptop
• small interactive online classroom chat online to students from around the world

Ready to get started?

Just add the course to your basket above - choose the 'Expert' option for personal feedback from Heather on your photos.

Any questions? Contact us by clicking on the orange speech symbol - we'd love to hear from you.

Requirements

For macro outside

Preferably a DSLR camera with a macro lens, but close-up filters or extension tubes with a standard lens will also work

A tripod will give consistently better results for static subjects

Useful accessories

A reflector (this can be made from cooking foil wrapped around cardboard)

A diffuser (this can be made from fine white cotton stretched over an opened up wire coat hanger)

A flash - not essential

Bin liner for resting gear on wet/muddy ground

Plamp for holding stems steady

String for tying back branches

For macro inside

A tripod (see above)

A reflector (as above)

A diffuser (as above)

A flash - either on-camera or a separate flash

Props for still life – miniature containers, stone slabs, sand

LED torch or reading light

Coloured card for backgrounds

A lightbox – not essential

SHOOT LOCATIONS

Anywhere – both outside and inside. Could all be in own garden and home or anywhere within easy reach of where you live.

CPD Accreditation

Course outline

A seeing eye.

The first lesson introduces the world of macro by showing images taken both outside and indoors and emphasises the need to look is all important.

Learn what equipment is needed for getting in close and discover the importance of depth of field in macro work, so you know when to use it creatively or to maximise it.

The structure of the subject will tell you how best to light it whether it be translucent leaves, textured bark, hairy stems or a reflective surface. Remember where the sensor plane lies and look beyond the subject to check the background is harmonious.

Outside Macro

This lesson is devoted to working outdoors and covers how to modify natural light for the best results. Comparative pairs of pictures clearly show the effect before and after using a reflector or a diffuser and learn how to use flash with confidence – especially fill-flash.

Learn how to use different ways to isolate the subject from the background and when to 'garden'. Understand high key and low key macro subjects and how to meter them. When to use a versatile tripod and when to handhold and switch on VR or IS are basic decisions for all macro work.

Explore the macro world at night using either flash or LED lights.

Inside Macro

This lesson is devoted to working indoors and covers many ways to light macro subjects – from natural window light, to flash and continuous artificial lighting. Learn how to set up a mini macro studio on a table for still life studies.

Use a LED torch or headlight as a macro spotlight and find a lightbox for backlighting translucent subjects.

Get to know the best lighting set-ups to take flowers / glass / jewellery / ornaments / seeds / feathers and iridescent subjects. Learn how to work with a light tent and how to shoot objects that stand out from a white background for web use, including selling items on ebay.

Special Macro Techniques

Finally, learn exciting techniques such as using raindrops as miniature fish-eye lenses and how to shoot iridescent subjects including soap bubbles, beetles and feathers. Marvel at how some subjects glow brightly against a black backdrop and learn how to set up dark field illumination.

Learn how to set up and shoot thematic series and how to take macro time lapse sequences.

Consider how best to frame different shaped macro subjects and how more impact can sometimes be gained by varying the composition or adjusting the crop – in or out of the camera.

Learn how to gain extra depth of field with focus stacking.

Choose how you want to learn

The expert option.

Develop your learning further with marked assignments and personal tuition from Heather Angel

• Start course whenever you like
• 4 weeks tutor access for personalised assignment feedback & coaching
• 4 assignments marked by Heather Angel
• Certificate of completion and CPD hours
• Online classroom with up to 20 classmates
• 4 lessons with expert videos & notes
• Group chat & direct message with tutor & classmates
• Lifetime access to videos, notes & classroom

The Peer option

Discover the benefits of group learning in an online interactive classroom of no more than 20 people. Get the most from shared knowledge and community study

• Practise what you learn with your peers
• 4 course assignments
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How to Get Started With Super Macro Photography: 9 Tips

A re you mesmerized by the symmetry in a single snowflake? Do you find close-up photos of insect eyes captivating? Well, that's the beauty of macro shots—they let you see things you don't often see. And super macro photos take it to the next level.

With a true macro lens, you can project your subject in life-size on the sensor. Although super or ultra macro images look intimidating, taking them is not very hard. Surprisingly, you can use basic gear, and you don't need any expert skills.

1. Start With 1:1 Macro Photography First

If you've never taken macro photos, diving head-first into super macro photography is not a good idea. Macro photography can be challenging for beginners because the depth of field is too shallow. And with close subjects, autofocus will not help. You must also be comfortable with the exposure triangle to expose the subject correctly.

All these issues can be magnified when you try larger than 1:1 macro photography. So get comfortable with macro photography before venturing into ultra macro photography. This way, you will know the common problems and their solutions and avoid frustrations.

2. Use Extension Tubes, Filters, or Reversal Rings

You can use your existing camera and kit lens to start super macro photography. To begin with, you can buy a close-up filter, reversal rings, or extension tubes.

Each one has its own set of advantages and disadvantages. For instance, low-quality filters can introduce unwanted artifacts, extension tubes reduce the light, and using reversal rings can expose the delicate part of your lens to dust and elements.

So, do some research and choose the right option. Clip-on filters like Raynox DCR 150 and 250 are handy for capturing insects outdoors, and extension tubes are suitable for studio shots.

3. Invest in an Ultra Macro Lens

You can't take ultra macro photos with a 1:1 macro lens like the Nikon 105mm f/2.8 or Canon 100mm f/2.8 unless you crop the images too tight. This can sometimes lead to a loss of quality. So, you have to use one of the accessories like extension tubes or filters to get more magnification.

Or, you can buy ultra macro lenses. Canon's 65mm f/2.8 1-5X is the mother of all ultra macro lenses. It is a manual focus lens that can magnify up to five times the life size.

Unfortunately, Canon discontinued the lens, so your best bet is to get it used. Even then, it can be pricey, costing a few hundred dollars. Instead, try the Laowa brand, which has a few ultra macro lenses in different focal lengths at budget-friendly pricing.

4. Try Artificial Lighting

When you get closer to your subject, and the more you magnify it, the depth of field will become sliver-thin. You may be using f/16 but still only see a fraction of your subject in focus. So, you cannot open the aperture wide to add more light. Nor can you decrease the shutter speed if you want to capture a busy insect.

Artificial light will allow you to maintain the correct exposure without bumping the ISO too high.

A speedlight is a valuable tool when shooting outdoors early or late in the evening or in a studio setting. Choose a speedlight with high-speed sync to expose just the subject and make the background dark.

5. Practice Manual Focus

The advanced autofocus system in the latest cameras is a boon for wildlife photographers, but it is of little help in super macro photography. If you're used to your camera's autofocus nailing your shots, you have to practice using manual focus for super macro photography. Manual focus can be challenging in the beginning, but you will get better with experience.

Initially, use the live view on the LCD screen of your camera. You can zoom in and check if the subject is in focus.

6. Learn Focus Stacking

As a macro photographer, focus stacking is crucial to learn and master. You have to focus stack almost all of your ultra macro photos.

The idea behind focus stacking is to take pictures at different focus points and stack them together in post-processing. You can use a manual or motorized focus rail to take these shots. Or, just try focusing manually on different areas of your subject.

If you want some help, see our guide to focus stacking in Lightroom and Photoshop .

7. Feel Free to Crop

For many, cropping photos can be a polarizing subject, but as a macro photographer, you must learn to embrace cropping. With tiny subjects, it is impossible to fill the frame. You are portraying the subjects in larger-than-life sizes, so you must rely on cropping to make your subjects stand out.

There are some ground rules, though. Shoot in RAW, remember not to crop too much, and avoid resizing the images.

8. Shoot Early in the Morning

With insect subjects, you have to focus stack to reveal their details. But they are also fast-moving. So there is no way you can take multiple pictures with the same composition.

There is a workaround for this, though. Insects are cold-blooded, and they need the sun to be active. If you go early in the morning when the temperatures are cooler, insects can be cooperative because they don't move much.

Better still, go macro shooting in the spring and fall seasons when the mornings are cooler with frost. You can also try after it rained when insects are less active.

9. Try Flash Bracketing

If you find manual focus difficult, try flash bracketing, where your camera can take a set of pictures at different focus points. You can then stack them with your preferred software. This facility may not be available in all cameras—you're most likely to find this in higher-end, professional cameras.

If you plan on getting a new camera, do some digging if you want this particular function. All major camera brands support this function, but you have to search for the camera models specifically.

Taking Super Macro Photos Is Within Reach

Super macro photography may look complicated, but it is fairly easy to get started. You can try it today with your basic camera, lens, and an inexpensive accessory like an extension tube or reversal ring. Also, brush up on your editing skills. Regular practice is crucial for learning different techniques and taking amazing pictures.

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• Leica and Rangefinders

Assignment Moscow/St Petersburg

By albert knapp md May 17, 2005 in Leica and Rangefinders

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Albert knapp md.

We are gearing up for what promises to be a very interesting and

exciting trip to Russia in mid-June. We will be visiting Moscow,

teh area around called the Golden triangle (old towns and

monastery in pre-Romanov Muskuvy) and St Petersburg. We will

be spending evenings at the Bolshoi in Moscow and the

Marinsky in St Petersburg..... For the first time in a ling time, I am

a loss for what to bring camera-wise. We will have a car/driver

and guide. should I bring my M7 with 24, 35 and 90 or the R

series with 19, 28-90, 70-180, 50, 28 PC and 100 macro. Mind

you, I will be photogrqaphing everything from museums to the

ballet to old monasteries. I thought I would bring the entire R

series as well as the M7 with the 90 for ballet/opera

photography. Or, should I just bring the M7 kit and bag the R8?

As for film, I will be bringing my usual, Velvia 100F (couldn't get

the 100 in time) and Provia 400.

Thanks so much!

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doris_chan 12 posts

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May 18 2005

May 17 2005

May 20 2005

May 22 2005

john_amiet2

Albert, you are the one carrying it all! My advice is cut the R system and go all out with the M system. You will (maybe) miss some pics by leaving the R at home, but I reckon you could miss more by being fatigued from the load.

The M7 will be brilliant with that spread of lenses. I would (personally) add a 50mm AND a spare(backup) body. That kit I would use anywhere if I had to carry the gear all day etc.

torben_daltoft

Stuart_richardson.

I used to live in Yaroslavl' for awhile and went to university there and I also lived a year in

Vladivostok, but that is 7000km away, so not an issue. You probably will go to Yaroslavl'

because it is on the zolotoe kol'tso (golden ring). If I were you, I would stick with the M

system. Though I have not really tried it, my Russians on the street are not particularly

fond of being photographed. I would try to keep things as low profile as possible. If you

have a screwmount, zorki-like body that might be a good choice. If you use the M7, I

would use electrical tape to cover the red dot and other markings. The gap between rich

and poor is very wide in Russia, and I think it makes sense not to flaunt your camera

equipment if at all possible. As for photographing inside ballets monasteries and so on,

make sure you ask your guide if it is ok. Otherwise just be very discreet and don't use

flash. I would also bring some higher speed negative film with you so you can be sure you

will be able photograph in the dark areas of monasteries and so on. I am not sure if you

are going to visit Rostov, but it has a beautiful monastery.

<P>St. Petersburg is fantastic. I highly recommend Issakovsky Cathedral and the Russian

Museum. Of course the Hermitage is amazing, but since you are going to Russia, make

sure you check out its own great artistic tradition at the Russian Museum. My favorite

there is Arkhip Kuindzhi, a fabulous landscape painter from the Crimea. Anyway, others

should be able to offer more advice, but that is what I have for you at the moment. Please

ask questions! I love Russia and love to talk about it. I am sure Alexei Shishin would also

be able to help with advice from a native if he finds the thread.

pensacolaphoto

"My Russians" <P>whoops, I meant to say "many Russians". I don't think many Russians

would be too happy about being photographed unless you get to know them, but they might

just regard you with a bemused tolerance...I doubt many people would actively protest.

I would take the M7 and your 24/35/90 and leave the R system home.

It's smaller, lighter, better for low light interiors and also less flashy looking. As someone else said, tape over the logo, dot etc. Maybe send it to Al for a week, for some 'cosmetic enhancement'. Use a crappy bag or stuff everything in your pockets.

I think the R system is way too big and will draw far too much attention. The R8/9 with a zoom looks like it costs at least a million dollars.

Sounds like a terrific trip.

Don't forget spare batteries! I keep one or two spare sets taped to the shoulder strap. That way they are never in "the other bag", when you need them.

Albert, regardless if you take the M or R system I would not make a trip like this without a

backup body or Murphy's Law will bite you hard. You could take the M with three lenses as

your main system and take one R body with the 28-90 as a backup as this seems to be the

most versatile lens of those you listed. Both systems with all those lenses is overkill IMO. Less

is more. Have a great trip!

Albert: I would go with the M kit. The R is much heavier, but more obtrusive. The 24/35/90 sounds like a good range of lenses. Is the 35 a 2.0 or 1.4. It might be nice to have a fast lens for inside. I would definitely carry some fast film for indoors. Less is better and lighter. Enjoy your trip, it sounds enjoyable.

dan flanders

Ach, more gypsy bashing. I will warrant that the majority of the crime in Russia is not perpetrated by gypsies.

Albert Knapp, you should leave all your cameras and just take me. I promise to photograph everything and give you exclusive rights to a complete set of complimentary copies.

If you hope to avoid unwanted attention is to try to do the most you can to make yourself

look like less of a tourist. Unless you bought your clothes there, you will look like a tourist

anyway, but avoid the most obvious no-no's. Don't wear shorts. Very few people there do,

and well, you shouldn't anyway. Keep your camera in a non-camera bag looking bag (read

Domke 803) or in your hand. Around your neck is not optimal and very touristy. Don't

wear a baseball hat, wearing neutral colors and shirts without text and so forth. Russian

men tend to wear slacks, dark shoes and they dress more formally than Americans.

Obviously, there are exceptions to every rule, but if you are wearing khakis or jeans and a

plain shirt you will draw a lot less attention than you would if you were wearing shorts,

flip-flops and a shirt that says Universal Studios Orlando or something like that. Just

looking like you belong goes a long way towards preventing you from being a mark. This

goes for travel anywhere...

Jorn: "Ach, more gypsy bashing. I will warrant that the majority of the crime in Russia is

not perpetrated by gypsies"

I couldn't agree more with you. My comment was actually a reference to an earlier post

from Dr Knapp where he described his adventures in Europe: "have used my tripod on

several occasions in Europe as a defense weapon against

gypsies. They send the children, literaaly like a pack of locust to harass their "prey"....A

tripod, with the ball swinging works wonders. In my experience, the tripod doesn't scare

them. It is only when you actually hit one of these wretches that the rest realize that you

are serious....the swinging tripod works wonders.....With my RF, I guess that I would punch

and kick....BTW, should you ever draw blood, make sure you clean the area or camera/

tripod IMMEDIATELY with water followed by alcohol...Hepatitis C and HIV contamination

remain remote possibilities, so see or call your physician at that point"

Possibly the most offensive post ever made on this forum.

As you once wrote (regarding theatre photography), less is more. I

would keep the equipment down to a minimum. A backup body is a good

idea. In fact essential. One thing I highly recommend is getting a

Voigtlander 15/4.5. Chances are that you will be need wide more

than telephoto, particularly in St. Petersburg with its stunning

architecture. I'd leave the R stuff at home and bring an M 50.

Also, make sure your equipment is insured against theft. Plenty of

that in Matushka Rossia. I would probably not be interested in

photography if my Minolta Hi-Matic was not lifted in Moscow. It

wasn't until Warsaw that I could get another camera and it was a

Zenit B which was such a demanding camera that I became a photo

maniac just trying to use it. (Another story.) Point is less is

more for another good reason: Less stuff to keep track of. Don't

leave anything in hotel room safes or hotel safes either. Just

don't. If Intourist is still Intourist you have a good chance of

having stuff lost or given to someone else.

Advise you got about dressing like a Russian is important. When I

was there I saw plenty of blue jeans bought on the black market.

Imagine that there are plenty of people in zhinzi now. But best to

be nondescript and a bit threadbare. I remember when we met that you

were quite a natty dresser. Dress sort of like me and you be fine.

I recall that Russians hate being photographed by strangers. In the

Sovet times they authorities were nervous about bridges and such

being photographed. But all that is very much like the US these

days. Best to ask permission to photograph people, unless you know

them. Russians are generally easy to get to know and are very

generous--too generaus sometimes. But it is true that there is a big

gap between rich and poor these days. Soviet wages and capitalist

prices. Plenty of inefficiency and corruption as in the old days but

not the social safety nets of the Soviet system. I would imagine

that people are a lot more open these days. When I was there people

were very careful about what they said and there was a lot of looking

over the shoulder (a bit like Japan, believe it or not, abeit for

different reasons).

One thing to be aware of. There are a lot of poor and angry youth in

Russia. NeoNazism is now a big enough to worry people. There is

considerably more xenophobia than there was in the Soviet times. Or

so I have read. It is not difficult to stand out as a foreigner.

The less gear you carry the less conspicuous you'll be.

In the way you dress and move, treat Russia as a third world country.

I wish I was going with you. The awful stuff aside, it is a

fantastic place.

Thanks by the way for advice on Lear. Shoot went well yesterday.

I'll be writing it up presently.

Thanks for that, Doris, if thanks is the word. Don't remember that thread, but I

do hope that others who've expressed similar opinions, would take

themselves down to the West Side of Chicago or somewhere similar, flaunt

their cameras and wave their tripods, and check out the locals' reaction. After

all, why restrict your bonhomie and generosity to foreign turf?

enrique_munoz1

Doris Chan:

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In pictures: Russia missiles pound Ukraine's Kharkiv

Moscow's forces are increasingly hammering the northeastern regional capital, a city of 1.2 million, as they attempt to press a ground assault on the border region and stretch Ukrainian defences on the eastern front.

Location KHARKIV, UKRAINE

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Location KHARKIV, Ukraine

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