The usual disclaimer: I am not responsible for any bodily harm that may and probably will come to you as a result of following said advice, yadda, yadda, yadda…on with the good stuff.
I’ll assume that the reader is already familiar with the basics of macro photography, so I won’t go over swaying your body, bracing, etc…
1) First off, my cardinal rule is to always look for behaviour shots. 10 times out of 10 this will be more interesting than a regular shot of an insect. Why? Because it tells a story, life history. So even if the shot is out of focus or not framed perfectly I would choose it over a well composed photo if it shows some interesting behaviour such as mating, predation, defence, feeding, etc… A prime example is the phorid fly and the katydid shots below. I find even the katydid amongst the leaves to be a preferable shot to the original even though it is not technically as good. It shows the katydid ‘actively’ camouflaging.
If you are so unlucky as to get a non-behavioural subject, try and get it into an interesting pose. If it is moving take tons of shots, especially as it climbs over obstacles, this can result in great poses like in this lichen katydid.
2) If shooting a moving target always aim ahead of the subject and have your focus ready, that way as soon as it comes into the frame you can get 4-5 shots off before it exits the frame. With a little luck your focus and framing will be on for at least one of those shots. This is important not only with fast moving subjects but also at high magnification where despite a small and an objectively slow moving subject, the subject’s apparent speed increases relative to the magnification. Bottom line is that even a 1mm worm will look like its moving quickly at 5x magnification.
3) This goes contrary to what most people say and do, but an aggravated insect is an interesting one. I never intentionally harm an insect, and I certainly don’t condone those who do. But I do poke and prod it. This elicits many different behaviours which one just wouldn’t see otherwise. A perfect example of this is in this leaf mimicking katydid (Pterochroza ocellata). When closed it looks like a simple mimic, one could very simply have left it at that, however by pushing it around a little into a new position, it suddenly opened up in a threatening display, revealing a behaviour I had hitherto not been familiar with, and in my opinion, a much more interesting photo.
Other insects may not show as formidable a display as the katydid above, however, each will generally show some manner of defensive display. Ants will open their mandibles which generally looks a lot neater than when they are just walking around. Snakes will dart their tongues, etc…
4) Use slightly off but complementary light. So if the subject is one shade of yellow, try and get it on a background that is ideally either a different shade of yellow, red or pink. This creates a subtle picture where one form flows into another with no jarring contrasts. It is therefore more pleasant aesthetically.
Strong contrasts can be good as well, however I feel like they don’t give as nuanced and subtle a feel to the photo. Another example is here:
5) Where you can, try and show them in their natural environment. The katydid amongst the leaves is an example. I’ve seen some terrific photos shot with wide-angles that show mountains and landscapes to great effect (though admittedly I haven’t tried this myself).
6) Diffuse light is especially important for shiny, metallic or black subjects. So make sure you either have a large apparent light source close to the subject or else good diffusion. Macro photographers are constantly in a battle to find that ideal combination of diffusion and many different materials can be used. In the rainforest this poses a particularly annoying problem due to the constant humidity and dense foliage which obstructs any protruding diffusers. Paper towels, tissue paper quickly becomes soggy and unusable. Other organic materials grow fungus and molds over time. Then if you are moving from one camp to another then cardboard snoots or coke can diffusers get mashed in backpacks during travel. So the best solution I have found is either something professionally made like a Lumiquest softbox which won’t deteriorate and can be treated relatively harshly or else a simpler solution which I myself use, a simple doubled over sheet of vellum paper. This can be obtained at arts and crafts stores. It is organic and so will deteriorate over time, however it is flexible and resilient. Not to mention cheap. And it can be easily cut to fit over your flash heads.
7) Always experiment and try new things! I had never done an HDR image before, but when I did, I was immediately impressed with the result. It is understated as far as a lot of HDR’s go, but I really like the effect. See my new experimental section below which shows some ‘different’ styles that I am trying.
8) Be original! Create your own style! This creates some of the most satisfying, creative, wonderful photographs! I adore this photo, I have it as my screensaver, and I never get tired of looking at it. And the best part is…I took it! A lot of effort went into it both during the shoot and in post processing but I really like the effect. The key here is to think about a shot and how you want it to come out before you actually see the subject and starting shooting it. Before I go out on a shoot I think about what I will see. If it’s raining and I know I’ll be walking by a pond, I know that my odds of seeing frogs will increase, so I consider how I would like to shoot these frogs before I’ve even left and then make adjustments fitting the scenario when/if I actually come across them in the field.
9) Two is usually better than one! Why? Because they interact with each other. Even if it is not directly, they create tension in one another that is visible in the photograph.
10) A note on catchlights and specular highlights. There is a place for these as they can add texture and interest to a photo, but they can also be distracting and destroy a photo’s potential. This really needs to be looked at on a case by case basis. However, generally, if the catchlights are in the eyes and are well diffused then the texture and colours are usually preserved and I will leave them as they are. If the diffusion has failed and the highlights interrupt a pattern or wash out the colours, then I will clone and repair it out. I do this mostly in reptile and amphibian eyes, where the damage is much easier to repair in the single eye than in the many faceted ommatidia of insects. Below is an example of a repair job of a flash shot on a snail shell that has become way too distracting. I didn’t use any kind of diffusion on this shot. With post processing in photoshop, I have cloned and repaired most of the damage. I did this very slowly at a magnification of 700X. However, I found the efforts worthwhile because I really liked the pose of the snail.
This second shot shows the same snail as it was originally shot.
11) Many people use ETTL flash without ever bothering to learn how to use the manual setting of the flash. This is a mistake. It always pays to know the ins and outs of your equipment. I used to use ETTL, but every so often I would here the flash charging and then it would let out a burst and the whole scene was whited out. This happened often enough that I started using the manual flash settings and have since been much more satisfied. For the mpe generally I use 1/8th flash power (f.p.) at 1-2x mag, 1/4 f.p. for 3-4x mag., and 1/2-1/1 f.p. for 4x-5x mag. Settings will vary depending on your ISO, aperture and shutterspeed, the above is for a ‘typical’ macro setting of ISO 100, f/11 and 1/200 sec. I find my photos are more adequately exposed now that I have control of this element as well. It also helps with you to understand the general principles of light and will get you further involved in all technical aspects.
12) Don’t use flat horizons. The horizon constitutes the surface that the insect is on, be it leaf or ground or tree. Tilt the angle, have the leading lines of the subject drawing you in.
13) Another way in which my style differs from other people’s is that I like interesting backgrounds. A lot of macro is aimed to isolate the subject from the background and have a nice bokeh. This can make for some lovely photographs and especially portraits, true. However, busy backgrounds provide a lot to look at and I will generally look at a photo a lot longer when it has an interesting background than one that is simple, and straight forward. This is particularly difficult to do in night photography which the majority of my shots are, however, I try and shoot at smaller apertures to gain more detail from the surroundings.
14) Let’s add a disclaimer to the above point. There should be a focal point of interest to the photo. Too many disparate elements and the viewer gets lost. Let the eye naturally go to the focal point and then allow it to naturally radiate out to take in the small intricacies of the scene. So if there are additional, small insects in the background that aren’t visible upon first viewing. Or any in focus background/foreground points of interest, etc…
15) Make notes while taking your photos. If you have a 1Ds series canon, lucky you! It has a voice recorder function. If not use a separate tape recorder or the video function on your camera. This is especially useful when you go over the same trail or grounds over again. If you spot a particular insect that has made a nest or a spider web that you particularly like, make a note of it. If you see an insect and you try and get a specific pose but don’t manage to get it this time around make a note of it so that next time you can try again. If there’s a setting that you found particularly useful or innovative record it.
16) If you are worried more about the insect than the composition take a ‘safety shot’ first. At a distance that you find appropriate take a photo so that if you scare it upon approach you will have at least one half-decent shot. This might not be a photo that you are satisfied with, but you can use it for reference later on to see if it is the same species you might find later on. Approach a couple of steps and take another shot. Repeat until you get to the desired distance and can shoot the subject as you intended to from the beginning.
17) POWER and MEMORY. Always carry a LOT of spare batteries and LOTS of memory cards. I carry 24 AA’s, 3 LPE6 batteries, (4) 16GB, (2) 64GB and (1) 8GB CF cards. This allows me to shoot as much as I want and not be limited. If you are constantly worried about using up too much space or power you will miss out on opportunities. I can shoot however I want. If I want to try my hand at an HDR, panoramic focus stack, taking 40+ photos to be merged into one, then I don’t feel bad about it. John Hallmen typically does 70+ natural light exposures. Experimenting can be seen by some as useless or a waste, but it leads to some really awesome shots, but first you have to go through lots of duds and throwaways. Get over the first hurdle and don’t limit yourself. Going hand in hand with this is to make sure of the compatibility of your equipment. If you can have your flashes, camera, flashlight, etc…all on matching batteries this makes life a lot easier. It means you don’t have to carry around tons of different chargers and if one gets lost you are not totally screwed. I ALWAYS use rechargeable batteries and I don’t know why others don’t use them as much as they should! I carry a spare set of lithium disposables for emergencies only which I never use. But otherwise I use my rechargeables exclusively of which I have found Sanyo eneloops to be the best. Look around, I have a friend who has a nikon twin flash which uses CR123A batteries. He was using expensive disposables because he simply didn’t know that there were rechargeables for this battery type. So do your research!
18) Manual or Automatic focusing macro lens? A lot of people shoot manual and a lot of the ‘experts’ will tell you to shoot manual. I went to a camera store specifically looking for the canon automatic macro lens (Canon 100mm f/2.8 USM). At this time I had a Zeiss which is exclusively manual on my canon. The sales person kept on telling me that I should shoot manual, what did I need an automatic for, my Zeiss was better than the canon, yadda, yadda, yadda… Although I shoot in manual mode 90% of the time, automatic is very useful if you have to manipulate a leaf or hold a stem. It is just not possible to do this, while changing the focus ring, while holding your flashlight, while adjusting your flash heads to the optimal position. Remove some of the burden and in this case use your automatic setting. Yes it can search and be tedious at times but having the function is much better than being without it. I missed lots of shots when I just had the so-called superior Zeiss.
19) Light Part 1 (Natural light)
This is a huge topic and will differentiate great photos from mediocre ones even if you have gotten all the other elements right. I typically shoot at night and so have to rely on flash power alone, however recently I have started with natural light (NL) shots and NL shots supplemented with fill flash. When done right, NL shots usually have nice soft backgrounds without harsh contrasts, or specular highlights. These effects can be made more pronounced the larger the aperture (smaller f stop), in the below picture, a larger aperture was used to both increase the available light hitting the sensor as dusk approached and light dwindled and also to create a shallow depth of field which in some cases can create a 3D feel.
NL shots can be more difficult for several reasons: 1) Requires a longer shutter speed; This necessitates not only a more stable platform from which to shoot, but also that the subject remain motionless 2) You need to choose your backgrounds carefully to complement the subject appropriately 3) You may need to diffuse the light if it is too harsh, so one must keep an eye towards what kind of light is hitting the subject: is it bright, shaded, diffused from cloud cover, etc… An all natural light shot is not always a feasible solution and so a compromise solution can be to use fill flash. This is where a flash is used to fill in the shadows and complement the NL. Below is an example. Here you can see the flash in the eye, however the flash power was set to 1/32, just enough to brighten up the subject, while the shutter speed was long enough to correctly expose for the background. Proper overall exposure takes practice and can be tricky especially under the canopy where light conditions are constantly changing due to the patchiness of light. However the results can be well worth the effort.
If you wish to see a prime example of this kind of photography “THE” place to start in my opinion is with an excellent macrophotographer who produces absolutely amazing natural light shots: John Hallmen.
20) Invoking insect and animal behaviour
This is a tricky one. Not only is it obviously dependent on species, but it also involves some creativity on your part and improvisation to the circumstances. I will be devoting an entire section to this later on, but currently don’t have the species breadth that warrants it. Here are a few things that I’ve learned:
A) The best shots of lizards and reptiles involve territoriality. Even better than being threatened, anoles, chameleons and many other species will show dewlaps, change colours and show interesting behaviours difficult or impossible to elicit otherwise. So, if you bring along a small pocket mirror (like those used for makeup) you can sometimes elicit these displays. It’s best to draw as little attention to yourself as possible, so I recommend setting up the mirror facing the subject and having it resting on a tripod. In this manner you can step back and photograph. In the beginning try to remain as low-key as possible. Bump up the ISO and shoot without flash, then gradually introduce the flash as the subject becomes more and more distracted with the presence of its rival.
B) Some insects show stereotyped behaviour, like the digger wasp:
A very interesting factoid about these Sphex wasps is that their behaviour is entirely programmed. In an experiment by Daniel Dennett, when the wasp arrived at its burrow with a prey item it left the prey to inspect the nest. The experimenter then moved the prey away about a foot. The wasp went looking for it, located it and then brought it back to the nest. Only it repeated the pattern, leaving the prey outside and inspecting the nest. This routine could be done any number of times without the wasp modifying its behaviour in the slightest. Such behaviour was then used as an argument by philosophers to explain how a variety of human actions though seemingly born of free will could simply be complex, innate behaviours.
Keeping this in mind if you miss a shot the first time around you can remove the prey, watch the wasp look around for it, bring it back to the burrow and try again.
C) There’s always the old standby of throwing the prey into the path of the predator. I’m sure we’ve all thrown grasshoppers or flies into the webs of spiders. Less common perhaps is refrigerating the predator, it slows down the metabolism but when it emerges from its induced hibernation it is generally quite hungry. Another programmed behaviour to deal with the onset of winter. Therefore it is more likely to feed on prey. I don’t condone this method due to its artificiality, the fact that you need to have both a fridge and predator/prey on hand and it doesn’t always work. But well, here it is.
D) Nocturnal insects and birds are attracted to white flowers unlike their diurnal counterparts. This means that if you have either white, fake plastic flowers (okay, not the most common of paraphernalia) or some kind of white plastic, you can daub this with some kind of sugary substrate and you can attract a variety of moths, earwigs, ants and other nighttime critters. This really works the same way as an insect trap though. Set it up and then return to it several hours later or else you’re in for a very boring time.
E) Changing the subject’s physical environment. Anoles, chameleons and other colour changing animals will change their skin colour to match their surroundings. This might be a tough sell for the fast moving anoles, but chameleons aren’t a problem.
Some Monkey frogs (Phyllomedusa sp.), are called waxy monkey frogs for a reason. They spread wax over their bodies to both protect themselves from UV light, but more importantly to conserve moisture. If you place one of these frogs in a sunnier environment, it will begin to spread wax on itself.
More to Come
Let’s get specific
Tips for flying insects
1) For most of the ‘game’ flying insects (These are dragonflies, damselflies, most dipterans) night time is the best time to shoot high magnification shots. While they are sleeping, approach them with the flashlight pointed away from the insect, if you point it directly at it, you will wake it and it will fly directly into the light (I mean, wouldn’t you?). So, approach stealthily and squeeze off a few shots. Try pumping up the iso (to within bounds of the quality of your camera) and reducing the flash power to get more leeway with the insect. The patience really varies on the species. Dragonflies, Owlflies I usually find very patient, whereas dipterans take off after a couple of flashes, so make them count. To get scenic shots, daytime NL shots is your best bet. You are more likely to get a better shot with longer lenses. These not only give you a longer workable distance, but also enable you to isolate your subject more effectively from the background, creating a softer bokeh. Especially useful for dragonflies that perch on branches and stems around ponds and marshes where not only may they be inaccessible by foot, but moving in the marsh will disturb the water and hence the plants on which the subject is resting on.
2) Photography during the rain is a good thing. Flying insects usually retire to a leaf and brace themselves to weather the storm, with an umbrella in hand, covering yourself but leaving the insect uncovered (unless you find the movement caused by the rain too distracting) approach and shoot. Water droplets also make for interesting composition.
3) Cold weather, obviously not a lot of that in the Amazon, but in more temperate climes, insects are required to pump hemolymph into their wings which like our blood slows in colder weather. Therefore they need to pump much harder and longer and will generally not even move. Exceptions are bumblebees with their fur, they are more resilient to temperature extremes.
Tips for Ants
1) Look for natural sugar sources. I use a lot of extra-floral and regular nectaries. These are the natural honeypots and you can get some very nice shots, not just of the ants and their natural environment, but of behaviour and how they interact with their comrades.
Extra-floral nectaries are nectar producing organs independent of those located in the flowers. Though they may be located on the stem, they are most common on the petiole, midrib and leaf margins. Brimming with energy rich glucose, fructose and sucrose, they also contain a variety of aromatic chemicals that aid in species specific attraction, especially ants. Extra-floral nectaries occur year ’round unlike floral nectaries and so are able to attract insects which are subsequently press ganged into service as bodyguards. A ready source of extra-floral nectaries also helps draw some insects away from the energy rich pollen which can also be eaten by some insects and which could prove quite detrimental to the reproductive strategies of the host plant. These nectaries are usually evenly spaced over the entire surface of a leaf such that an insect is forced to roam over its entire surface, effectively patrolling the leaf. Should the insect encounter a hemipteran or other kind of pest, it is quickly ushered off the premises or else taken and eaten. Ants in particular enjoy a symbiotic relationship with plants displaying extra-floral nectaries which has enabled both participants to flourish in each other’s company.
Combine all your knowledge for each photo. Don’t just be satisfied with following one step, follow them all and add your own!
Natural sugar sources include honeydew derived from phloem-sucking hemipterans (aphids, scale, membracids, mealy bugs, etc…)
2) Leafcutters have become somewhat of my specialty simply because I enjoy the challenge and I am so fascinated by their behaviour. Every time I come across them I can easily spend several hours photographing them. I have developed a few techniques to improve my keeper ratio though be forewarned, you will have many, many rejects. 1 in 40 shots acceptable is not uncommon.
Leafcutters are constantly in motion and can be a real pain. If you try and isolate them on a twig or something, they often drop their leaves and look unnatural. The solution I’ve found is to follow them to their ‘logging grounds’. When they march vertically, due to the load, they are slower than when running horizontally. Also, try blowing on them… I find that they will often stop altogether and brace themselves against the tree trunk. Just as they finish carving their leaf there is a brief window where they are getting the balance just right before heading off, this is a prime opportunity to catch a few quick shots. Look for obstacles in the terrain and wait beside these since it will usually slow down the leafcutters, possibly creating somewhat of a traffic jam.
3) Army ants are not only fast, but aggressive. If you stay in one spot too long they will send out scouts and before you know it they are swarming all over your pants. To combat this, you can isolate an army ant(s) on a stick or other material. As they run up and down, it will afford you many opportunities to get the shot you want (Applies to high mag. and more or less single ant shots).
[I am working on improving my army ant shots since I feel they could be much better, and they are a very fascinating subject so stay tuned to this section. Shots will include high mag. soldier/worker, Bivouac, panning nomad lines, myrmecophiles, hunting ant shots]
If ants are in motion, try using this to create a dynamic photo. I have recently been experimenting with panning and leafcutters. So far the results look promising, though I haven’t got any that I would call ‘stunners’. For more experimental shots, see the ‘experimental’ section below.
4) The stakeout. This goes for ants, wasps and pretty much any communal insect. Choose a location where they occur in the greatest density. You increase your odds exponentially of finding interesting behaviour. For ants you will find more communication between fellow nestmates, greater instances of parasitization by wasps, mites and other parasitoids, nest defence strategies and a variety of other behaviours. Food sources are also an excellent area (this may include compost bins, and garbage heaps in more urban environments).
More ants can be seen HERE
Tips for wasps and bees
Wasps in particular can have quite menacing faces, this in conjunction with their warning colours makes them particularly attractive subjects for dramatic lighting and closeups. Wasps being predatory insects can often be found with prey. More often than not it is a matter of luck finding them with prey, but if you remain within close proximity to the nest, you can increase your odds. Also look for places that may be plentiful for ‘source’ insects; an ant colony might be one example, or a compost bin.
More Bees and wasps can be seen HERE
I don’t take too many pictures of bees in general since they are very flighty, they are strictly diurnal and they are a very, very popular subject and so I’m afraid I won’t be able to contribute anything that’s really new. However, if you want to see some of the best bee photos that I have seen, I would direct you to John Kimbler’s (Dalantech) website.
Tips for Neuroptera
The most common Neuroptera that you will find are lacewings, ant-lions, owlflies and mantidflies and their abundance is roughly found in this same descending order.
Lacewings are named for the wonderfully intricate venation of their wings and though this trait is shared with the other members of this family as well as with the Odonata (Dragonflies and damselflies) they are still probably the most striking (especially in their green form). The faint rainbow iridescence that glances of the translucent panels of the wings, the elegant green veins and the trim of faintly raised hairs (which when viewed closer are actually tiny hooks) combine to create an elegant insect truly worthy of the name ‘lacewing’.
Like the antlions and owlflies, lacewings are clumsy fliers and can be readily caught with a net, though lacking that they often only travel a short distance before landing on another leaf for a break. Therefore if you happen to startle one into flight then you stand a good chance of getting another opportunity. In my experience, where one finds one lacewing there are likely to be others. They enjoy the undersides of leaves and are pretty ubiquitous, being found in cleared fields, dense undergrowth and riparian areas. Despite their beauty, they are voracious predators of many small arthropods. Of particular note to the agricultural industry is their rapacious appetite for aphids, mites and other damaging pest species engendering their use as a biological control agent of late. However, one is unlikely to encounter such behaviour due to their crepuscular (dusk)/nocturnal behaviour unless it is specifically sought out. Another solution, one which I don’t really espouse but which is effective nonetheless is to refrigerate a lacewing for a couple of days, slow down its metabolism and then when you release it you put it on a leaf with potential prey.
Another fascinating behaviour which should further encourage nighttime exploration is the lacewing’s complex manner of egg deposition. Eggs are mounted on the end of silky stalks to protect them both from marauding predators such as ants, and from each other, since the voracious newly hatched lacewings would otherwise cannibalize their siblings. The stalks are further covered in oily droplets composed of aldehydes and fatty acids which act as an irritant to other insects, thereby preventing their predation- more can be read HERE.
More Neuroptera can be seen HERE
Tips for beetles, cockroaches and carapaced insects
I find beetles and cockroaches can be quite difficult subjects to capture well. They are usually found scuttling on the ground and so 99% of shots are taken from above. The head and eyes are usually a good focal point for an image (note there are exceptions), shots taken from above don’t display these features to their most beneficial.
So, get low down and shoot upwards.
Cockroaches have interesting behaviours too don’t forget! One can very easily dismiss scuttling and unpleasant creatures and avoid looking for any kind of behaviour, however, some are very interesting or even beautiful!
Cockroaches and most insects for that matter undergo moults in which they shed their exoskeleton in order to grow and adopt a new chitinous shell. This can be a great opportunity to catch some interesting and somewhat otherworldly photos.
Put the insect on a leaf, or twig and raise it up to get a shot from below. Use glass and shoot an underside portrait. Use mirrors. There are any number of things one can do to generate a more interesting shot.
One can either choose to zoom in on the beetle’s details or else relax the frame and show it in its environment. There are merits to both methods. However it can be difficult to choose when to employ each. Of course it depends on the intent of the photographer, but one must also look at the environment and at the subject. Take the example of the hairy weevil below. In order to show its minute size, I pulled the frame back and employed lots of negative space. In so doing one’s attention is drawn to the subject while also maintaining a larger awareness which would not otherwise be possible if the beetle took up every inch of the frame. When I took the shot I was also reminded of camels walking along the edge of dunes in the desert. I tried to recreate that by ensuring that the edge of the leaf was visible and moved from out of focus behind the subject to in focus to out of focus again ahead of the subject. Someone else once told me that it reminded them of an small elephant. If I can evoke a sense of the world’s largest terrestrial animal with a photo of a pinhead sized weevil then I feel like I successfully achieved my aim.
Tips for Arachnids, and Chilopods (Centipedes)
Remember, it’s all about composition!!!
Most spiders are harmless, and though they may appear quite vicious, the same rule applies to them as to the snakes below. Even the more poisonous spiders would rather leave you alone than waste their precious venom on you. Like most insects, the focal point is the face and eyes, though this can be complicated by the mouthparts and fangs which one would ideally like to get into focus as well. Therefore a smaller aperture might be of use when photographing frontal portraits at high magnifications. The problem I often face with spiders, day or night is not disturbing them. People are generally very careful when it comes to approaching flying insects because it makes the difference between getting a shot of the insect and getting a shot of the leaf it was sitting on. Yet they do not import that same care when photographing other more terrestrial insects. In my opinion this is a mistake. All insects and animals should be approached slowly and carefully. Even if you still manage to get a photo of the insect, after it has been alerted to your presence it will no longer remain in a natural pose but will adopt either a threatening posture or a cryptic one in which it tries to hide as best it can. The latter also provides good photographic opportunities as mentioned earlier. But your priority should be natural poses/behaviour, which after you have documented you can on to disturb the creature and get it into a better pose.
Unlike a lot of other animals, arachnids can often be found feeding or engaging in other behavioural displays which can be caught to very good effect.
So keep your eyes out for these. But watch out when they are feeding, because if you disturb them with your photography, typically when you hold the leaf or branch they are on to stabilize the camera, they will often drop their prey and assume an unnatural, threatened position. So approach with care.
I find harvestmen quite difficult to shoot well. They are gangly if one wants to incorporate their legs and they have small beady eyes which can be difficult to get into focus. Their legs move across their eyes giving out of focus areas, the list goes on. So generally pictures including the entire spider aren’t ideal. So focus on the body. Many have dorsal patterns that make them particularly amenable to an overhead view.
The also respond particularly well to UV light. Proteins embedded in their exoskeleton fluoresce in response to wavelengths in the 300-400 nm range exhibiting colours ranging from blue-green, yellow to reds. There are still relatively few UV-harvestman shots out there, especially compared to the plethora of UV-scorpion photos, so such photos still appear unique.
Orbweavers and web building spiders
Orbweaving spiders are an incredibly diverse set, though features common to the group are the creation of large webs (relative to their size) used as the primary means by which to capture prey. However the resident spider doesn’t always remain in the central hub, but may reside on the periphery. The spider maintains its connection to the web by a communication strand which when triggered will cause her to come racing out to capture her prey. In general orbweavers have a rather dull colouration so as to avoid being conspicuous to wasps and avian predators (though exceptions abound).
A suspended spider affords an excellent view of both the ventral and dorsal surfaces and depending on the height, one can achieve interesting head on perspectives.
Almost as soon as prey lands in an orbweaver’s web, it will be descended upon by the spider. She will often bite and release and wait. After the paralytic in the venom has had a chance to take effect and the risk of damage to the spider has been minimized, she will proceed to wrap up her prey either to feed or to save for later. It is while she is wrapping her prey that an excellent photographic opportunity presents itself. Silken strands are pulled from the spinnerets by a rear leg and are wrapped around the prey even as the prey is being rotated and managed by the other legs. This happens extremely quickly, so it is best to prepare beforehand. Your settings should be set to hi-speed continuous shooting, low ISO, fast shutter speed over 1/200 sec should be used. Depending on the magnification a small aperture <f/11 should be used to maintain focus of the silk, the spinnerets, the prey that is being wrapped and as much of the spider as possible. Fast shutter speeds and small f-stops thus require the use of flash unless one desires to increase both the ISO and the graininess of the image. Perhaps most important is getting a good vantage point for the action. Make sure that the web is not too high, and that it is not surrounded by tons of plants or other objects which when disturbed will cause the spider to abandon its prey and go running for cover. Also be certain that you approach from the proper side for the best possible view rather than taking pictures from behind where the spinnerets and the action is out of focus and covered by the other limbs. Accustom the spider to your presence before tossing in the prey so that it will wrap the prey in the same place it was caught. Otherwise she will view you as a threat and will simply carry the prey to the hub or elsewhere that is more sheltered and which offers limited opportunities for viewing and photography. For a more dramatic photograph, choose prey which is large but slow which has a large surface area, but is light and will not fall through the web, nor should it be capable of fighting back. Ideal prey are moths and butterflies, though flies, especially craneflies whose long gangly bodies readily become entangled are also excellent choices. Remember that webs were designed to entrap flying prey and so choosing terrestrial prey usually doesn’t result in satisfactory results. However, it takes some luck and many many shots to get one that is satisfactory.
Some spiders build extraordinary webs and so the spiders themselves really need to be showcased in their microcosm. Spiders can form up to 7 different kinds of silk from their spinnerets, modifying the basic silk polymer by different extrusion mechanisms. Some spiders, especially those of the Cyclosa and Argiope genera can create an opaque white silk, a thread quite distinct from that used to form the rest of the web and which is called the stabilimentum. Though the purpose of the stabilimentum isn’t fully known, theories range from its use to alert birds from flying into and destroying the webs to deflecting UV-light and cooling the spider.
The shots in this segment were all taken with flash because they were either taken at night or during a period of intense action exemplified by predation. However, a more harmonious scene is usually achieved with more subdued colour palette usually created by using natural light. Consider using this method during the day to capture web building spiders in their natural habitat. Get low and shoot upwards or level so that the maximum amount of light is able to enter the lens. Better yet use a tripod so that you are not limited by the shutter speed. While out of focus elements in the foreground can readily become distracting, if they are minimal and tastefully done, they can also add to the dreamy feel and work well together with subdued colours.
Jumping spiders have lots of personality and are very photogenic so this isn’t a group that is too hard to photograph. They cock their heads to the side as though deliberating their next move, they will often put their front legs out in front of them just before jumping, they have a variety of great poses. When photographing jumpers I prefer the pose immediately before they jump or when they tilt their heads back and look up at the camera with their two large median eyes.
Sometimes jumpers won’t readily oblige in their poses and seemingly look everywhere but where you want them to. They naturally jump higher rather than lower. So you can get them to look up by putting your finger or a stick slightly above them with one hand while you wait for the pose and shoot with the other. Or you may have to curl or tilt the branch/leaf that they are sitting on.
The eyes of jumpers take up most of their face and a shot missing this key element might be found lacking unless some other important focal point is found. Front on portraits are very common for a reason, they show these eyes to their best advantage. Jumpers will often attack prey that looks huge in comparison to their diminutive size, these can make for very interesting shots as well.
Hunting spiders are a polyphyletic group comprising the huntsman (Sparassidae), ctenids (Ctenidae), wolf spiders (Lycosidae), and tarantulas (mygalomorphae). This unofficial grouping is characterized by a lack of a web used in prey capture and a semi- or fully nomadic lifestyle. Most spiders’ eyes aren’t able to resolve detail particularly well. This is especially true amongst the Araneidae or web builders. However, the simple eyes (ocelli) are more than adequate to detect changes in the direction, quality, intensity and polarity of light. For this reason it is important to keep low and avoid casting a shadow (most birds and other predators attack from above) as this will engender an evasive response. Moreover, the hunting spiders generally have better vision than their web-based counterparts because their lifestyle demands it. The wolf spiders in particular have two large posterior median eyes (PME) able to resolve details from several centimeters away. Nevertheless vision still appears as a secondary sense in this group. The tactile hairs, which appear as spines on the legs, and the even finer trichobothria probably play a more important role in locating and responding to prey. These hairs respond to certain vibrational frequencies (eg. the buzzing of a fly) as well as being mechano-sensitive (ie. respond to pressure waves). One should take note of the latter because too rapid an approach and one could create an air current which could frighten the spider. Always approach slowly, from below and downwind. Once alerted to your presence the spider may flee or else attempt to hide by firmly appressing themselves to the substrate, ruining the majesty of their fearsome appearance.
The poisonous South American wandering spiders (genus Phoneutria), within the Ctenidae family, are an exception to the camera shy rule. These spiders behave quite aggressively, and will rear up to show their fangs and bright, aposematic leg markings when disturbed. They bite very readily and usually inject a substantial amount of venom Though they are said to be able to jump I have never witnessed this.
Argyrodes and reflective spiders
I haven’t taken a lot of photos of these kinds of spiders and those that I have have turned out not quite as well as I’d hoped. I would however recommend very strong diffusion to balance out the metallic sheen many of these spiders or else use cross polarization.
I will post more images when I have experimented further.
Tarantulas and other mygalomorphs
Get over your fear of these friendly giants, they make great subjects!!! Most are slow and ponderous in their movements and can be readily handled. I have never had one bite me and from other people’s accounts the bite is no more painful than a wasp sting (and not poisonous in any case). Perhaps of greater concern are the tiny hairs released by the rubbing of hind legs against abdomen when feeling threatened. These hairs behave like little hooks, readily embedding themselves in the skin where they can remain for weeks causing itchiness and irritation. Again I have never had this happen to me and it is usually only an issue if the spider feels threatened or is being squeezed or manipulated in some uncomfortable way.
Fortunately these spiders are very patient and can be photographed at length. Try and shoot them as they are climbing over obstacles. One of their chief distinguishing features is their hairiness, so try and sharpen their hairs to really accentuate that fuzziness (this can also be achieved by focus stacking).
If you can get a good shot of their jaws and fangs, go for it. Lucky you! It is perhaps just our societies associations of tarantulas with Halloween and death, but they often look quite ominous and so consider taking advantage of this by using dramatic lighting with lots of shadow. Another good pose is the frontal portrait showing the tarantula coming out of its burrow. However one must have good timing as they usually come out at night, and stay in their burrows during the day, another reason to go on night hikes.
Crab spiders (Thomisidae)
One of the nice things about crab spiders is their penchant for staking out flowers in the hopes of ensnaring nectar seeking insects. However they often have colours that blend in with the flowers making them difficult to differentiate. Try boosting contrast and adding additional sharpening to the edges of the spider to bring out details. They also have an open stance whereby they splay their legs waiting for prey. These can make for excellent poses.
Crab spiders are some of the best subjects for using stacking software like Zerene systems, Helicon focus or Photoshop because they often remain motionless both before and after prey capture. If you intend to try stacking the best and most consistent results are achieved with a tripod. However, serviceable results, especially if there are fewer than 10 frames in the stack can be had so long as one is able to rest the camera on a solid, immoveable surface. Then you can slowly edge the camera forward while shooting.
This photo best illustrates how a macroscape can still be important and can really create the image. The textures and depth were important elements in the composition. When I viewed a single exposure that focused simply on the crab spider I found that there was insufficient detail. Therefore I stacked the images to bring both the flower and mosquito into focus.
This picture illustrates how photogenic crab spiders can be, especially when they can be caught with prey and while hiding out within the axils of leaves or under the pistils as shown here. The detail in this photo would not have been possible without stacking. At least 4 photos were necessary just for the fly and a loss of focus in the fly would have proven detrimental in my opinion. Fortunately crab spiders are masters of camouflage, and so the background that they are sitting on is usually of a complementary colour and they also usually sit stock still, lending themselves well to stacking.
More Spiders can be seen HERE
I am still working on this one. Frankly there isn’t a single scorpion shot that I have ever done that I am happy with and would be proud to display. They are very hard to give personality to. Short of going out with a blacklight and showing their UV fluorescence which is interesting just for the pure novelty of it, I seem incapable of getting good shots. The best I have is of one feeding on a spider. But even this one I’m not entirely pleased with.
After some time I have found another feeding scorpion which in my opinion I have caught to much better effect. Don’t expect to see this kind of behaviour often in the wild. In about 3 months walking days and nights this is the only one I came across.
I think that one needs to catch the rare pose, and the rare behaviour to really make these shots come alive. Mothers with offspring would be one such photo that would be quite good. I suspect that one would have to get creative with the composition and find one in an unusual position or else on a flower or a macroscape that is different from the tired, old tree stumps you usually find them on. Keep an eye on this category to see if I come up with anything though…
Finally arrived at this after long days and nights of nothing in this category!
After some thought I know of the pose I want to catch next, now it is just the matter of accomplishing the task. I’d like to use a relatively slow shutter speed and catch a front on view of the spider as it attempts to sting. Hopefully catching a slight blur of motion in the process. Easier said then done though. I’ll keep you apprised of my progress.
More Scorpions can be seen HERE
Whip spiders (Amblypygids)
Out of the tropics and into temperate zones not a lot of people have heard of these arachnids. And so for some, any shot of one of these is a good one. But having come across a number of them I beg to differ. They often lie flat against tree trunks or in the hollows of dead trees. They are cricket/grasshopper specialists. They’re exceedingly long and elegant front legs are used as feelers with which they scan their surroundings. These are very difficult to incorporate into a well composed photo, since they are inevitably held at angles which wind up being cut off while cropping or trying to get more detail out of the body. These are incredibly fast insects, akin to scutigera. But, they usually don’t run far, usually just around to the other side of the tree bole. So if you lose sight of it while hunting don’t despair and continue looking around for it because it usually hasn’t travelled far. These subjects make excellent front on portrait shots. Shoot their jaws and faces, do a focus stack or use a small aperture.
Display those characteristics that really make this a frightening predator and use them to good effect in the photo. Here it is the colours, the contrasting blacks and reds along with the long spines and eyes. The posture is such that it anthropomorphizes malignant intent.
Other angles I have been less successful with simply because they always hold extremely tightly to the bark and hence composing different angles is quite difficult if not impossible. One is very limited.
I am still working to either transfer one to a leaf or take a shot while it is on the ground. Neither of which is its natural habitat. I have tried in the past, but they don’t like this and make all haste to get back to where they are most comfortable. Here is the one that I shot in the past.
You can see that it adopts a different threatening posture from what it usually displays. But it was quick to retreat, so I will update this when I get a shot that I like better.
Finally, it’s not especially common, but if you can find one with prey, these make for great shots. I’ve only seen it a few times but I am quite happy with this shot. You need to choose your angles carefully both to maximize depth of field for both predator and prey but also so that there is no obstruction of key features from one insect to another.
More Amblypygids seen HERE
I have found after many failed centipede shots that they tend to do best when isolated from the background and shot on black or at least with as much removal of a distracting background as possible. Also lots of diffusion is necessary otherwise the specular highlights are usually bad enough to ruin the photo. Closeups of the head rather than full body also tend to be more interesting.
More Centipedes seen HERE
I find Scutigera quite difficult to shoot well because like harvestmen they have all those bloody legs. So most shots will look something like this:
Scutigera really benefit from behaviour shots, and close up portraits. Those multifaceted eyes are really nice for closeups. Their front pair of legs are modified into fangs like in all centipedes and so getting these in focus will also be of importance. One of my best photos of a scutigera is this behaviour scene I stumbled across in Borneo.
Two feeding shots now. One good, one mediocre.
This first shot is the lesser of the two, it shows a decent angle, and is a good behavioural shot, but it is really missing something to make it interesting. It comes across as pretty flat.
On to the second shot.
This second shot I quite like. The eyes and face are shown to much better effect and the characteristic dangling pose that these animals adopt is shown better as well. The lighting is what makes this shot though. The strong illumination of the head and the areas of interest with a gradually receding light towards the extremities really highlights the action of the photo. The detail of the closeup is always nice too. So, in summary look for these critters at night standing vertically on tree trunks or sometimes suspended from leaves. Try not to disturb them because they are quick! And unlikely to give you a second chance of shooting them. They will either run around and up/down the tree or else drop to the ground. In either case they do not stop like the Amblypygids to offer you many other chances.
Of course sometimes you get lucky and you stumble across something that is out of this world in colour or form and then almost any photo you take of it comes out looking great. This was earlier on in my photography and despite the less than ideal angle and image, it still comes out looking fascinating, if not an aesthetic winner.
Tips for mantids and phasmids (stick insects)
I’ll begin by saying, there are others that take much better mantid shots than I do and so it is definitely worth checking out the following photographers because their work is really stunning: Kurt (Orionmystery),
I do take some shots of these fascinating insects as well though, and here’s the little that I do know:
1) These insects are masters of camouflage! So if you can, try and show them in their natural habitat doing what they do best. However, you also want the detail of the insect to come through so don’t go too far.
2) Some of the most cryptic insects can also have a bright surprise, so poke or move them a little and see if they won’t oblige by showing you some colour. Several things wrong with the below photos. The angle should be more level and less like the photographer shooting from above. The image is also underexposed and the specular highlights from the flash are distracting. Otherwise these shots might have been quite interesting. However, they show interesting behaviour and go well together to tell a story.
3) The best mantid photos that I have seen involve natural light usually with some fill. Otherwise it is easy to wind up with nasty specular reflections like in the above example. Though my shots don’t compare to Kurts’ I’ve taken a few that I am happy with.
An exception is dramatic lighting. In this case the flash is used to highlight elements of the insect. Try to make sure that it isn’t against any kind of natural background which will make distracting shadows. I find black or high key backgrounds best since the insect this way really takes centre stage.
4) Don’t be afraid to Get close! Stick insects in particular have some incredible details which can be overlooked when trying to encapsulate the entire organism in a single shot. The devil of the subterfuge is in the details. Look at those false fungi! Crazy leaf venations! Whatever it is, show it to good effect.
5) A colourful background can often offset the cryptic colouration of these insects quite well. However below is a failed attempt where I over manipulated the colours and changed them from a dull brown to the technicolour display. This was earlier on when I was enamoured with over saturating the colours. Let below be a cautionary tale of how not to treat an image!
6) Portraits are a great style for sticks and mantids. I have been shooting portraits a lot recently and so the style has become a little stagnant for me and I’m looking at new ways to improve on it. But this style shows really well the detail and character of the insect.
7) The more the merrier. Stick insects by nature of their motionless behaviour will often have other insects crawling over them. Usually ants, though flies and other insects will occasionally land on them. Try and get behaviour shots, eating or bubble blowing or defensive displays.
8) Try shooting under UV light
Depending on the species the results can be quite shockingly different. While most species appear blue under UV, others have a patchwork of colours, with different limbs or protuberances having different fluorescent signatures.
More Mantids and Phasmids seen HERE
Tips for treehoppers (Membracids) and Leafhoppers (Cicadellids)
Treehoppers come in a huge diversity of forms and colours. They form symbiotic relationships with ants, display mimicry and are a fascinating group. They are hemipterans and so have a proboscis which they use to suck sap from their host plants on which they can be found most of the time. Once you have found a treehopper feeding on its host plant, make a note of it because it is likely that those species have an established relationship such that where you find one you are likely to find the other. Treehoppers are slow moving, typically standing stock still, making them quite easy subjects to photograph. When they are disturbed they slowly shuffle forward or back along the plant stem. Only a few species startle and fly off (like Oeda inflata seen below). Take your time knowing that they aren’t going anywhere fast. If you do startle them off then consider returning to the same location at a later date or if you know of the same species of plant at a different location then consider checking the leaves at that location.
Hoppers are quite small so typically a good portrait will require at least a 1:1 magnification depending on the species. Try to get low and look up to show the facial features.
Their small size doesn’t mean that you can neglect composition though. Look at the environment that they are in. Are they sitting on petals or leaves that have a striking colour, pattern or shape? What elements of the background should you include? Hoppers are often associated with ants because they create honeydew waste product from plant sap. Decide whether the image will be stronger with or without these foreigners.
Tips for Caterpillars, butterflies and moths
Daytime and night time shooting methods will differ and will dictate the kind of shot you will aim for. Butterflies generally rest at night and so this is the best time for closeups of eyes, and scales. However, they are not at their best compositionally. They usually hang out during these times on the undersides of leaves, not against the bright flowers of the day.
A greater diversity of moths are seen at night due to their attraction to lights. However, because they often rest on the lights and human made structures, the unnatural environment detracts from the image. The corollary is also true though, that moths are best shot during the day when they can be found asleep on trees or on the undersides of leaves.
Caterpillars can be shot day or night. The former is probably preferable so as to take advantage of natural light and softer background colours. Look at the key features of the caterpillar and let that determine your shot. Some are spiky others have eyes or flash/threatening markers, get the shot that shows these to greatest effect. One generality is that shooting from below and getting a ‘rearing’ caterpillar usually makes for an interesting pose (like that seen below). However it can be difficult, and time consuming. Don’t lose hope if you still don’t have that great image after 100s of wasted shots. I took probably a couple hundred shots before I was happy with the below shot (and in retrospect I still feel like I could have done better). I maneuvered the leaf around, the caterpillar would climb to one end, rear up for a second, decide where to go and then spend a minute traveling to the other end of the leaf where it would do the same. I had a guide hold the leaf and the flashlight focusing on the caterpillar while I tried to maneuver into position. Lots of out of focus shots, lots of almost shots, be patient and you will be rewarded.
Below, the colours take centre stage. And even though there is no view of the eyes or head, the spines show such detail that they essentially become the focal point and are pleasing to the eye.
In my experience water droplets usually add a very pleasant fairytale-like quality to any image. Here they collect on the fine urticating hairs of the caterpillar. They add a real dynamism to the image because they render parts out of focus and magnify other parts. They cause diffraction and so can change the expected colours. It really adds interest to the image. So if you go early in the morning to get those dew shots or immediately during or after a rain, you might get some real magical shots.
Caterpillars as you know are very slow moving insects. So they have been required to evolve defenses. These include urticating hairs, aposematic colours, mimicry, etc…They also have a love/hate relationship with ants. At times they are farmed by ants at other times they are attacked and eaten. These behaviours are particularly interesting to capture if you can.
Despite being beautiful butterflies and moths are quite hard to shoot well. It isn’t that the subject isn’t beautiful, in focus or doesn’t have pretty colours. Rather it is the same static and monotonous perspective which is essentially the same in the majority of shots. For example the first shot below. The perspective is slightly overhead, and with the subject dead centre in the frame. The butterfly ‘market’ is overrun with these kinds of shots. So, how do we make it better? Tricky! Because as soon as we start to stray away from the side portrait and get unconventional angles, we are also not displaying the wing markings to their best effect. So it relies chiefly on the external composition ie. the background and colour complementation. Below is a comparison of 2 shots. One is your standard shot displaying a butterfly with nice markings but otherwise a forgettable photo. The second uses lighting complementation, the bokeh from the aperture which is carefully place behind the subject, and an element of interest (emergence from the chrysalis) which all combine to make for a beautiful presentation.
I don’t feel that butterflies benefit from closeups as well as a lot of other insects. The beautiful iridescent scales taken at high mag. is a notable exception. But headshots I don’t feel offer that same beauty as other groups. But maybe I just haven’t found the right cooperative subject.
Flying insects have the distinct benefit of being able to get that difficult yet very satisfying in-flight shot. Now as most of my macro is taken at night I haven’t been able to experiment with this as extensively as I would like, and so I have a pretty poor selection of my own to present. However, for some sensational in-flight shots you can visit Linden G.’s photostream on flickr seen here: http://www.flickr.com/photos/13084997@N03/sets/72157610450102014/.
A beautiful example is that of the mud dauber wasp carrying mud to aid in the construction of its nest.
Note however that he has special equipment (ultra fast shutters and infrared trip beams) helping him achieve these fantastic results. So don’t feel disappointed if your efforts don’t yield the same quality. My limited attempts have produced this serviceable shot below. The trick is to chose a subject that engages in a stereotyped behaviour such that you can predict where to place yourself to maximize your chances of getting a satisfactory photo. The wasp above was taken with Linden poised in front of the nest monitoring the wasps moving in and out on their daily errands. The hawkmoth below was visiting all of the flowers of a particular plant species (Lantana camra). Therefore I was able to position myself in front of one flower that hadn’t yet been visited. You will want to place the settings on hi-continuous shooting and depending on whether you want their to be motion blur or not choose a high or medium shutter speed. To get a slight motion of the wings my shutter speed was 1/160 sec. I opened up the aperture to f/8. A compromise between wanting sufficient light and maximizing the depth of field because of the rapid side to side/up and down movement of the subject I couldn’t guarantee that it would be in the same focus plane between the moment I saw it in the viewfinder and I clicked the image. Therefore to hedge my bets I simply took a smaller aperture.
Get creative. Below is an image of a chrysalis taken at night which I backlit with a flashlight. This enabled all of the details of the venation to be seen with great clarity in addition to presenting an almost radioactive green, not commonly seen in nature photos.
Moth tips coming soon
Tips for snakes and vipers
I abhor zoos/aquariums and can’t abide by supporting them directly or indirectly through my photography, hence, all these shots were taken in their natural environment.
Some people might be tempted to say yeah, just use a longer lens. A valid point. But this is inadequate in several regards. First it may give too much working distance. In the jungle, there is often not a lot of space between overlapping foliage and so the more distance between you and your subject the more likely you will get some interference. Secondly, this limits your viewing angles and compositional perspectives. With a 100mm macro, if I wanted, I could get on top, or from the side or below, a 200mm and beyond, if I get on the ground there will inevitably be a log obscuring my view, and I don’t want to climb several meters into a tree if there even is one for a shot. Thirdly I can get a sense for the snake itself increased distance between you and your subject physically will probably show up in the photo as an unintimate portrait. However, getting close enough to feel the flick of the tongue on your cheek, you get a real feel and respect for the creature you are photographing which can’t help but show in your shots. Also less flash power is used and in my opinion, the animal actually grows less stressed over a long shooting period.
1) Be careful! wear long rubber boots and approach slowly and with care. Snakes can strike from 1/2 their body length away. This isn’t taking into account their movement either. So to be safe, as soon as you get within one body length, treat it as a potentially hazardous situation.
2) Read the signs of the body language. A snake that is constantly flicking its tongue is generally aggravated. It is wanting to update its chemosensory information second by second to be ready for anything. It is thus extremely alert and in a high state of tension. You might be tempted to grab a shot of it with its tongue darting out during this time, but you should probably wait until it calms down or else avoid it completely. Though this is species dependent I have noticed this especially with the fer-de-lance (Bothrops atrox). Other species might seem exceptionally calm and this too can be a danger signal. Basically read the signs.
3) Try and keep something in between you and the snake. I generally use an umbrella with a hole cut in it for the lens. If the snake pounces, the hope is that it will go for the umbrella. The tension from the metal hinges is enough to repel the force of the strike. It is also compact and multi purpose. If the snake is on the ground I might approach it very slowly with my boot out, heel forwards to gauge the temperament of the snake. So that if it lunges, it will (hopefully) hit the boot and not my leg.
For non-venomous snakes
More Reptiles seen HERE
I’m almost reluctant to give this tip away because it’s that good!
Snakes sense their environment via highly chemosensitive tongues which direct scent molecules to receptor neurons by constantly flicking their tongues. However capturing a snake with its tongue out (which seems to be the goal of most snake photos) can prove to be a challenge. Thus I have found that by exhaling in front of the snake you can prompt it into a flurry of tongue flicking as it attempts to pick up on the new and interesting smells from your breath. This technique takes the guesswork out of trying to catch it with its tongue out and increases your odds of getting a better shot.
Tips for Amphibians
It is truly the rare moment that you can get a behaviour shot for an amphibian or reptile for that matter, and so one must usually make do with just compositional poses.
The most important thing is to look at the behaviour, if you can, spend several minutes observing the amphibian before you take the shot. Look at how it moves, is it slow or fast, erratic or deliberate, flexible or inflexible, these will all help you to compose your shot (provided you have enough time).
Treefrogs usually have very flexible limbs because they regularly stretch from one tree branch to another. They don’t hop so much in the forest canopy, they walk. How do you cover greater distances, you have longer limbs. The best shots I see of these usually have them at full stretch and if not show an unusual pose like limbs bent upon each other to show this flexibility.
Have them looking into the camera for the front on portrait. In my experience this gives a more interesting shot than a side profile which comes across as too documentary, scientific style.
With most insects but amphibians and reptiles in particular, there is the temptation to get the whole animal squeezed into the frame. Break this habit! If you focus on a particular part of the animal like the webbed feet, or the eyes or the skin it can be a much more interesting photo.
Focus on that part of the animal which is unusual. Display it to best advantage based on the angle you have chosen.
Combine these points when you can, don’t just be satisfied with a behaviour shot, if you can do more!
Males are generally preferable to females! Why? Because they call a lot more frequently. This makes it a) more likely to find b) more likely to get a picture with their vocal sacs inflated which really improves the photo significantly! So if you haven’t gotten a shot of a vocalizing frog, go out and get one, because it is extremely rewarding!
Try to get low viewing angles looking upwards. This is especially key for ground dwelling species. Why? Creates dynamism. Frogs on the ground are almost always shot from above, this means that 99% of shots of that frog will be shot from a bird’s eye view, or at a strong overhead angle, and look similar and disinteresting. Get down on the jungle floor and point upwards!
Get an unusual angle! Play with your depth of fields, try new things, who knows what you will come up with.
More Amphibians seen HERE
How I shoot Macro
Here I will simply focus on the aspects where I feel that I differ from most other shooters. I freehand a lot of my shots. This means that not only do I not use a tripod, but I also don’t use a lot of bracing techniques, holding onto a leaf and resting my lens on my hand, or holding a pole with the same hand as my camera. All those techniques stabilize the camera. I am able to freehand up to the maximum 5x magnification on my mpe. But this requires 1) a lot of patience 2) A lot of out of focus frames 3) You don’t always get the exact framing that you want 4) You need to take a LOT of pictures to get one that you like. With all these cons, you wouldn’t be remiss in asking why I don’t change my shooting style. Well, 1) I like the freedom of being without some form of support. 2) It is good practice for when you don’t have any supports available eg. you’re on location and can’t find a good support stick. 3) This enables you to shoot at a distance, extending your arms and using liveview mode. 4) It allows you to shoot in different environments, I can shoot almost as easily in a tree, in the water, etc. as on the ground. 5) In the jungle I try and minimize what I carry around with me, a stick is one more thing I don’t need. 6) A stick or pole is just one more thing that you have to pay attention to. If it slips, or is tilted at a bad angle this can scare away the more skittish species. 7) Sometimes it can be the only way. A lot of insects will fly/jump away if you touch the leaf or branch that they are on. However, they are usually much more forgiving if you don’t move them and so you can shoot away.
I will shoot in all manual mode, from the flash down to all the independent settings. Although it can be hard I try not to get locked into a specific configuration. My preferred shooting settings are ISO 100, 1/200sec, f/11. However I frequently change these as the scene necessitates. If there is a chance to get more natural light into a scene I will use a lower flash power as fill, bump up the ISO, lower the shutter speed and play with the aperture as necessary.
I try and look for interesting compositions and try to get a least one shot from an angle I’ve never tried before on each shoot. This isn’t always successful but it makes you flexible and it helps keep you from falling into a pattern of always getting the same old stuff by which your ‘style’ is generally known.
I have a few favourite positions for different critters, but that doesn’t stop me from trying something new for each of them. I shot a wood louse and after doing all the usual for 15 minutes I struggled to get underneath it, and got an unusual angle from the bottom.
This shot shows the prominent ridges and segmentation and I feel is a very different kind of shot that I am happy with for an altogether different reason.
This will be a running entry showcasing some stuff that I’m working on trying to hone and make better. Pictures will be of varying quality as I improve or simply decide to abandon a technique or style. The photos under this section might seem altogether ‘normal’ to anyone else, but they mark a departure from my conventional style and hence will fall under experimental for me personally. Each entry will be accompanied by a short blurb on what it was I was trying to achieve. Any advice on how I might improve a particular style or effect would be very much appreciated.
I had already known that material in the chitin of scorpions fluoresced when exposed to UV light, however, thanks to Techuser on flickr for the idea of using UV on harvestmen. Here shows the use of a tripod using 15 and 30 second long exposures, while minimizing ISO’s to 100-400. The results are much cleaner than previous attempts. Here, any movement will result in fairly poor results. UV light was in the 365nm wavelength. This provides a more naturalistic lighting that minimizes the purple colour cast of 400nm + wavelengths, though the latter definitely have an interesting look. Furthermore this wavelength seems to make create a brighter fluorescence, enabling shorter exposure times.
The reason is for this UV fluorescence is a little unclear. Some insects see in UV and so it might help in species differentiation or mate selection. Snakes, birds and other predators can also see in UV so perhaps the brightness reflects aposematism in nocturnal predators in a similar way to how bright colours in the visible spectrum do to diurnal predators. Harvestmen use a variety of defenses including aposematism, stridulation and chemical defenses to ward off predators and so it seems feasible that such fluorescence might fulfill a similar role. Though the accentuation of patterns on the dorsum and posterior might be more reflective of mate selection since many harvestmen will perch up high and with relatively poor vision, such brightness might help them find a mate.
Some other insects that I have found to reflect UV are some leaf mimicking katydids, centipedes (Scolopendra), some crab backed orbweavers (Micrathena sp.), some caterpillars, scorpions, some stick insects, some grasshoppers/katydids…quite a broad spectrum really. Though like mimetism UV fluorescence seems to change with the life cycle, either becoming stronger of weaker with age depending on the species. For example one individual of a possible new genus of millipede that I found fluoresced red under UV though others didn’t.
Bright backgrounds by night
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More to come