Category Archives: Insects

Workshop Report: Macro Photography Intensive

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Seven participants joined together in September at Mo Ranch for the three day macro photography workshop including in the macro lab (From left) Kelly Sile, Richard Bennett, Glenn Rudd, Gary Eastes, Diane Young, Tracy Curran and Dan Tonnison. Nikon D800, LAOWA 14mm F 4.0 Wide Angle Macro Lens.

 

The historic, 500 acre Mo Ranch at Hunt, Texas, was the site for a three-day intensive macro photography workshop geared to shooting in a macro studio/lab and in field settings. The workshop was located in a beautiful setting on the North Fork of the Guadalupe River  in the heart of the Texas Hill Country and centered in diverse habitats including aquatic, riparian areas, grasslands, oak-juniper woodlands, and limestone hills.

Award-winning naturalist and photographer Brian Loflin led the macro  workshop packed with over 20 hours of hands-on instruction and guided shooting where participants grew in their photographic abilities with new found skills, techniques and proficiency.

The intermediate/advanced level workshop featured hands-on learning and demonstrations with native flora and fauna of the area and covered many subjects including:

• Equipment for getting close   

• Perfecting Exposure

• Tools to make macro work easier

• Grip and support equipment

• Backgrounds • Wide Angle Close-Ups

• Lighting with Flash • High Speed Flash

• Multiple Flash • High Key and White Box

• Tank Photos • Macro Panorama

• Focus Stacking / Extreme Depth of Field

• Extreme Macro • How big is it? (Mensuration)

Everyone worked hard through the workshop to capture stunning, highly detailed images of tiny subjects difficult to observe with the unaided eye. Everyone brought home images to brag about. Here are a few examples of that work:

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Richard Bennett- Stick insect, above, and grass seed head (focus stacked), below.

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Glenn Rudd, Red Ant, above and Mayfly, below.

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Diane Young- Bark lice (Psocoptera) above and below.

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Dan Tonisson- Cactus stem, above (focus stacked), and Sunflower, below.

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The next Intensive Macro Photography Workshop is scheduled for
September 7-10, 2017.

Copyright © 2016 Brian Loflin. All rights reserved. Participant images copyright by the maker.

White Table for Shadowless Lighting

A portable table for high-key photography in the field.

Many times we encounter great photographic opportunities in the field and can accomplish making some superb images of the subject in its habitat. (The mating stink bugs, below) Often however, it would be nice to capture images with greater clarity by the eliminating of ugly or distracting elements and improve the subject view by removing all the background.

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I am often told by many that you can do all this in Photoshop or other post processing software. (Don’t worry, fix it in Photoshop.) While I know that to be true, why spend a lot of time in front of the computer when we can manage the technique in the field and in the camera?

 So, my suggestion is to use a translucent white acrylic plastic background sheet and create near shadowless, high-key lighting by using an electronic flash as backlight. Similar to the White Box technique, (See: Create shadowless macro backgrounds) this has been a common studio practice for many years. Now recreating this technique in the field sheds a new light on our subjects. (Pardon the pun.) Enter the White Table.

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This simple tool is an open framework created of PVC plumbing pipe. My dimensions are simple, 12 inches on each side. And with the addition of a 12 inch square white acrylic plastic top, the table is complete. I do not cement the PVC joints so the legs readily come apart for ease of transport.

In use, above, the unit rests on the ground. A back light flash is positioned to fire upward through the plastic top to provide a blown-out background. A second flash on, or near, camera provides front light for the subject and the trigger for the back light flash.

Here is an example of the same mating stink bugs carefully moved to the White Table. This process provides a completely different view of the insects without background distractions. The photo is clean and this technique allows lighting for maximum detail.

High Key-MedREZ-1A simple twist to this technique is to switch the white acrylic for a black sheet of the same material. This will allow the production of some images with nice, contrasting black backgrounds and interesting reflections. This works exceptionally well with hairy subjects like the tarantula, (below).

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Copyright © 2016 Brian Loflin. All rights reserved.

Manage the Background – Part three.

I previously discussed managing the background through Depth of Field and through contrasting tone values. This last discussion revolves around the third method of setting off the subject, using contrasting or complimentary colors.

To understand this color concept better, we need to review the theory revealed in the Color Chart. For purposes of discussion in digital photographic terms, we use the RGB (Red, Green, Blue) color chart (below), an additive color scheme.

RGB Secondary Color wheel

In the RGB color chart (above) we see the photographic Primary Colors of Red, Green and Blue labeled in white. You may notice they are spaced evenly in thirds, or 120 degrees, around the wheel. Across the wheel from each of the the primary colors we see the Secondary Colors of Magenta, Cyan and Yellow. These secondary colors are actually made up of equal parts of the two adjacent primary colors.

Colors that are opposite each other on the chart have maximum color contrast, and are called complimentary colors. Two colors commonly found in nature are blue and yellow, a maximum color contrast of two complimentary colors.

In this sunflower photo the yellow flower contrasts perfectly in color with the blue background. This is because the yellow is exactly opposite the blue on the color chart. That makes them complimentary colors and one of the most visible of color contrasts.

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_DSC6502-Sm Nikon D2Xs, 200mm F4.0 Micro Nikkor, daylight.

For this cone flower (above) we have the  secondary color of magenta petals against the primary green background. Based upon our understanding of the color wheel these colors are still complimentary, thus of maximum color contrast.

GalliardiaMoth-1533-SmNikon D2Xs, 200mm F4.0 Micro Nikkor, daylight.

However, in the Indian blanket flower photo (above) the reds and oranges are not complementary to the green background. This is because they are not opposite on the color wheel.They are in fact, analogous, meaning adjacent on the wheel. Analagous colors work well together and create a harmonious color scheme. Here, the yellow tips to the flower petals separate it from the background primarily by contrasting tones rather than color.

However , the Shinia moth near the flower  center, a symbiotic insect to the Indian blanket, does not contrast well with the flower. This is actually to the moth’s benefit- a color mimicry trait that protects this moth from predators.

So, what ever the method you can use to separate your subject from the background, it’s a good tool to help attract the viewer’s attention to the subject. If more than one technique can be used in a single image, that’s even better.

Good photographic composition begins with a visual preview of the scene. Do everything you can to find and use as many elements of good design to give your image as much impact as you can within the camera. That will make the task of post processing must easier and allow your images leave the viewer with a lasting impression.

Copyright © 2016 Brian Loflin. All rights reserved.

Manage the Background – Part two

I have often discussed the importance of assuring the subject stands out in the frame. To do this you must manage the background.

Previously, I discussed the first method in which you can separate the subject from the background by using a very small Depth of Field. Here I will talk about using contrasting tone values.

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Nikon D800, 105mm F2.8 Micro Nikkor lens, daylight.

In the image of the flowering seed head of Bushy bluestem grass, the highlight and mid-tone values of the plant structure contrast very well with the dark, mottled tones of the background. This allows even the finest detail to be visualized quite well. Remember, here I talk about tone values- not colors. This means changes in reflectance from dark to light. Even though monochromatic in characteristic, this subject is very well defined.

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Nikon D800, 200mm F4.0 Micro Nikkor, sun, SB-910 fill flash. Three frame HDR image.

A more colorful Passion flower really snaps out against the darkest of backgrounds. In this case some of the flower’s filamentous petals and the leaves themselves make up the background.

I am frequently asked how do you make the background dark. The answer is simple, don’t put light on it. In other words, find or make the background about two stops darker that the mid-tone exposure value. Find a Point of View that yields a nice underexposed background. Or conversely, shade the brighter background with your hand, body or a piece of cardboard or opaque reflector. If you make a shadow fall behind the subject, that’s it!

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Nikon D800, 105mm F2.8 Micro Nikkor. Two SB-910 Speedlight flashes.

The polar opposite of dark backgrounds is to make a high key, or very light background. In this case, the high key background is useful to better define the edges of medium-to-dark subjects as in the mating stink bugs above. Many times natural lighter surfaces or backgrounds may be found. When that is not possible, placing a light material or lighted surface behind the subject works well. In the case of the stink bugs, the subjects were placed on a sheet of opal acrylic plastic that was illuminated from behind with a flash (speedlight). An additional speedlight provided front illumination from above. With the capabilities found in today’s flashes, it is relatively simple to vary the TTL (Through the Lens) power ratio of each flash independently, producing the desired tone values of the subject and of the background separately.

Regardless of your choice-light or dark- be sure to manage the distractions to produce a subject that pops!

Copyright © 2016 Brian Loflin. All rights reserved.

 

 

 

 

 

 

 

Tiny Views: A Nature & Macro Photography Workshop

Lenses were recently turned to the smallest of creatures at Mo Ranch in the heart of the Texas Hill Country. A dedicated group of eight Central Texas photographers from novice to accomplished image makers gathered for the the third Nature and Macro Workshop led by Austin natural science photographer, Brian Loflin.

Stick insectA walking stick or stick insect of the family Phasmatodea appears as if by magic from camouflage among a grouping of wildflowers. Close focusing lenses and dedicated lighting makes this possible.

The photographers endured three days of classroom work and photography in the macro lab and field capturing a diverse cross section of natural subjects — all much smaller than the proverbial “breadbox.”

The workshop features the tools, techniques, processes and procedures for capturing high quality images of our smallest natural world via digital camera. It includes: The equipment for nature photography; Understanding and perfecting digital exposure; How to make pictures extremely close; Lighting with off camera flash; Focus stacking; Wide angle close up-images; High key, white box and black box photography and much more.

Some of the student’s images from the workshop include:

Details found on a prairie coneflower, Mark Laussade.Macro workshop Macro workshop-2
A tarantula with reflection and Fire ant- Don Simpson.DBS-Peekaboo Terantula DBS - Fire Ant 2
Praying mantis and unidentified bee (possibly a mason bee)-Doug Farrell.

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A whimsical nature assembly and coneflower detail- Cathey Roberts.

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Participants have high praise for Brian’s workshops and instruction, stating, “Thanks to Brian for the extensive preparation that he did for our workshop. He has expansive knowledge and photographic expertise. On top of that, he is a very capable communicator and teacher who shows much interest in his students. He goes above and beyond what you would expect in order to make the learning experience worthwhile and memorable. Our workshop was first rate!”

Brian Loflin is a veteran nature photographer, author and teacher. His multi-day workshops include Nature and Macro Photography, Bird Photography in South Texas and Flash Photography. Classroom instruction includes Nature, Macro, Flash, Photoshop for Digital Photographers, Photoshop Lightroom and Composition & Light. He has authored photographed and published several books on natural science with his wife, Shirley, including the award-winning Grasses of the Texas Hill Country, and Texas Cacti. Another book featuring Texas wildflowers is in current production.

Copyright © 2015 Brian Loflin. All rights reserved. Images copyright by their respective makers.

The Queen Emerges

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Several days after the Monarch eclosing, I had the second chrysalis develop. This butterfly was a Queen. I was a bit late in starting preparations so I missed the first part of the emerging process. I did however get some images in the process.

The cameras, setup and procedure was the same as the Monarch, except that I used a live stem of Blue mist flower, a Queen favorite.

Here is another pair of views of the same adult:

Queen Butterfly

Extreme close-up

Copyright © 2015 Brian Loflin. All rights reserved.

Emerging Monarch Butterfly

Monarcg butterfly emerging from its chrysalis.

In July, 2015 I was given a couple of butterfly chrysalises by a friend and butterfly enthusiast, Linda Avitt. They were very near the state when they were ready to emerge (or eclose, as the experts say) as adults.

I quickly went about setting up my lab as an expectant photographer knowing I would see adults at any moment. I wanted detailed closeups, and timed sequential images and video of the event. So for all the stills, I used SB-910 Speedlights with Lastolite EZBox Speedlight modifiers and reflectors. For the video, I used a daylight balanced, flat LED panel. All lighting was balanced for balanced flash and ambient light exposure.

Cameras included Nikon D800 for stills (RAW and JPG) and Nikon D90 for the MP-4 video. Timed sequences were setup using  Nikon’s MC-36 remote cord intervalometer set to shoot every ten seconds. All cameras were securely mounted on tripods. The composition was set loose so there was ample room around the chrysalis for the emerging activity so nothing had to be moved.

For the staged insect, I picked a fresh stem of butterfly weed and kept it in a bottle of water. The chrysalis was secured to the plant stem with a drop of super glue, mimicking the natural attachment. Everything was clamped securely to the lab table.

Test images were made and exposures adjusted and composition and equipment fine tuned. All was in readiness, only to wait. This was Tuesday morning at 7:57 AM. And wait. And wait. . .  NOTHING!

Finally, the color began to change at 11:22 PM, some fifteen hours later. So much for the butterfly being ready to go. So it is with nature photography. The following sequence is selected from 45o images made that evening and early the next morning. Times are listed within each image.

So after a twenty-seven hour process a pristine male monarch butterfly was released into my garden and I was able to take a nap!

Butterfly collage

Copyright © 2015 Brian Loflin. All rights reserved.