To get started with macro photography all you need is your smartphone, and if you want to take your extreme close-ups to the next level a mirrorless or DSLR camera with a dedicated macro lens will be the way to go.

What is macro photography?

The term ‘macro’, as we know it means “large”, but is meant by lens manufacturers to describe lenses that enlarge, magnify. Most of them label their lenses so – but Nikon, just to be different name theirs ‘Micro’ or MC.

Macro photography is extreme close-up photography, using a 1:1 macro lens in order to produce images of the subject larger than life size. This means seeing things not normally visible to the naked eye, which can be fascinating.

Can you do macro photography with a phone?

You don’t always need an expensive kit to photograph small subjects, so yes, you can shoot macro photos with your smartphone. These days, most phones have a wide angle lens and a macro mode, with the iPhone 15 Pro  even letting you focus as close as 24mm. If you are thinking about upgrading your mobile to a device that handles macro effortlessly read our guide for the best smartphones for macro photography. On the other hand, if you want to invest in a dedicated camera setup read our guide on close-up photography tips and choosing the right kit

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

What are the benefits of macro photography?

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

How to shoot macro photos: 15 top macro photography tips

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

Pro photographer Colin Varndell offers his top macro photography tips…

1. Choose the Best Lens

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

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

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

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

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

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

2. Make a Standard Zoom Focus Closer by Adding Tubes

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

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

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

3. Add a Dioptre to Make a Lens Focus Closer

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

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

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

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

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

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

4. Use Apertures to Control Depth of Field

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

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

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

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

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

5. Blend Flash with Ambient

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

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

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

6. Use a ‘Third Hand’

A ‘third hand’ or ‘helping hand’ device is an essential macro photography accessory. It enables you to support or position subjects just where you want them. It can also facilitate endless possibilities for positioning backgrounds.

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

7. Fine-tune Macro Pattern Compositions

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

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

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

8. Point of Focus

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

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

9. Check the LCD screen

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

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

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

10. Macro Photography tips: Raindrops

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

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

11. Different Backgrounds

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

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

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

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

12. Butterflies

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

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

See our complete guide on how to photography butterflies.

13. Have a look at inspirational macro photographs!

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

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

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

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

Read our guide to photographing miniatures, figurines and Lego!

15. Think about lighting options

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

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

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

Related reading:

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

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Macro photography – what is macro photography?

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

Macro photography lens – what is a macro lens?

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

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

How close can your lens focus?

You’ll find the close-focus distance printed on the side of most lenses. If you require closer, then consider your options; an extension tube or other accessory or, for the best results, a dedicated macro lens.

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

You may come across these terms online, which are simply for guidance in different focal lengths of macro lenses. Here we run through the benefits and potential disadvantages of each type.

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

Can I use my existing lens as a macro lens?

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

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

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

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

Option 1: Extension tubes

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

Option 2: Close-up filter

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

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

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

Option 3: Reversing ring

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

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

Macro lenses for beginners

Our round-up of budget macro lenses is a great guide to the options available.

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

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

Macro photography tips, tricks, and technique

Here are some quick tips for the most important aspects of macro photography: the subject, lighting, focus, and how to stabilise the camera. Plus the photography settings you need to pay attention to when taking macro photos.

Quick Tips for Macro Photography

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

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

More macro tips here: Top Macro Photography Tips.

Macro photography settings

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

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

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

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

Light: Macro photography lighting

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

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

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

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

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

Macro photography ideas and inspiration

Insects

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

Read our in-depth tips on macro insect photography

Food and fruit

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

Macro flowers

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

Fungi

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

Products (including cameras, lenses, and watches)

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

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

Frequently asked questions (FAQs):

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

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

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

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

• Beginners guide to different camera types.
• Beginners guide to different lens types.
• Beginners guide to using a camera taking photos.
• Beginners guide to Exposure, aperture, shutter, ISO, and metering.
• Understanding white balance settings and colour
• 10 essential cameras accessories for beginners
• Beginners guide to the Art of photography and composition
• Beginners guide to Photoshop Elements and editing photos
• Beginners guide to Portrait Photography

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Geraint Radford explains Focus Stacking

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

Macro photography lets us explore the magical world of tiny beasts, flora and fauna. I love to photograph live wild insects, yet discourage the use of any practices that could harm these tiny important beings.

When working close to our subjects, the depth of field reduces considerably. The smaller apertures needed to achieve extra depth of field can impact picture quality through diffraction and reduce the faster shutter speeds we need to maintain image sharpness.

What is focus stacking?

Focus stacking is a great solution to this problem. The technique entails shooting a sequence of images at different focusing distances, and using software to blend the sharp areas together into a single file with greater depth of field and better image quality.

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

Dawn and dusk are ideal shooting times as the cooler temperatures make creatures easier to approach and less likely to move. Stability is key to successful stacking. My camera has seven stops of in-camera stability, enabling me to shoot handheld. A ground-level tripod may be useful, while a centre column that tilts horizontally will stop the tripod legs from getting in your way.

Diffused flash will give us complete control of our lighting and help reduce camera shake, especially when shooting handheld. My flash and 30cm diffuser is mounted directly above my lens pointing downwards to achieve soft lighting and nice shadows. This also avoids the light shining directly into the eyes of my subjects.

Geraint’s focus stacking kit list

Macro lens

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

Extension tubes

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

Flash and diffuser

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

How to use focus stacking

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

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

Essential software

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

Barry Webb on using Focus stacking in slime mould macro photography

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

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

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

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

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

Barry’s focus stacking kit

Lens and extension tubes

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

Tripod

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

LED Hand lens

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

Barry’s top tips for capturing slime moulds 

Composition

Once I have found my subject, I use a 10x loupe to help me work out the best composition. The camera is manually focused and the lens is set to 1:1 as a starting point. The tripod legs are adjusted to the optimum position and the tripod then physically moved until the point of nearest focus is located.

The number of shots and the size of the differential between shots will vary according to the depth of the subject and the number of extension tubes being used. Generally, for slime moulds, I take between 30 and 150 shots. An ISO of 100 or 200 is ideal, as is a relatively wide aperture, at the macro lens’s sweet spot.

Light

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

Movement

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

Processing

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

Matt Doogue on close-up insect photography

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

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

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

Matt’s focus stacking kit list

Lens choice

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

Flash system

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

Matt’s top tips for handheld focus stacking

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

Related reading:

• Top Macro Photography Tips
• Best photo editing software
• Top tips for insect photography
• More techniques for pin-sharp close-up / macro photographs

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West Dean, home to West Dean House and the Edward James Foundation, a charitable educational trust in Sussex. Edward James was a patron to the Surrealists who supported and worked with the likes of Salvador Dalí, René Magritte, and Leonora Carrington. In 1971, James opened West Dean College as a centre for education in conservation and visual arts to fulfil his desire to nurture music, traditional crafts and the fine arts.

West Dean College has continued to be a hub for creativity in honour of James’s legacy and ethos for lifelong learning. A range of creative short courses in a broad range of subjects are offered all year round. From photography, painting and drawing to ceramics, jewellery and textiles, there is something for everyone to try their hands at. There are even courses for ancient crafts, and heritage crafts at risk of going extinct! The short courses vary in length from one day to a week, and all abilities from beginners through to advanced. More traditional education is also offered alongside the short course programme through the Degree and Diploma courses in arts, craft, conservation and design.

A chance to learn…

I had the opportunity to pick a photography course to participate in, and from the range on offer, from photo editing through to alternative processes, I decided to choose the three-day Macro and Close-up photography course with Close-Up Photographer of the Year co-founder, AP contributor and photographer, Tracy Calder. I’d never done macro photography before, so this was going to be a new experience and challenge for me.

It’s always a pleasure to return to West Dean. A beautiful estate buried in the South Downs that has creativity seeping through each one of its pores, from the gardens and the architecture through to the inside of the house itself, which oozes with mystery. Now, I may be biased, as (disclaimer) I used to work at West Dean College. Unlike the Gardens, West Dean House isn’t open for the public to go in and look around. Unless you attend a West Dean event, course, or work there the special wonders of the house mostly go unseen or experienced – but you are aware they are there.

…and be inspired at West Dean College.

But I can tell you there is a piece of inspiration around every nook and cranny of the estate. Some are obvious, like the iconic footprint carpet on a spiral staircase near the main entrance. A 1930s design commissioned by Edward James to immortalise the wet footprints of wife and Viennese dancer Tilly Losch.

But there are some inspirations you need to look a bit closer for. Which is exactly what Tracy was encouraging us to do over the duration of our course, and then take into our everyday photographic practice.

The short courses are designed so that you can use your own equipment, a full equipment list is provided in advance so you can prepare and in some cases the tutor will provide materials. For this I also chose to take my Fujifilm X-T4 and borrow the Fujifilm XF 80mm F2.8 R LM OIS WR Macro lens to make the most of my experience.

The courses start on an evening, consisting of meeting your tutor, peers for the duration, dinner and a first lesson. Which is where Tracy introduced us to the world of close-up photography and what makes a great macro photo. The course was made up of eight photographers and we were given a mix of presentations, hands on activities and 1:1 tuition. There was something for everyone to learn from. Alongside classroom sessions where Tracy shared her tips and tricks, we were set a series of tasks, under the headers of Composition, Texture, Colour and Boredom/Beginners Mind.

Composition

Starting with the basics of macro photography – composition. We looked at methods of creating a successful composition and building interest. For example, the psychology of lines, rule of thirds, patterns, scale and viewpoints. Our task was to select one of these methods and apply it on location. I chose the lines element and the glasshouses of West Dean Gardens as my location of choice. I ended up using the full couple of hours we had on the task in one spot of the glasshouse. Obsessed with a couple of individual curved lines and a tiny leaf that was in the shape of a triangle (featured above), didn’t move until I captured the idea I was going for. I came away with a couple of images that I was definitely happy with.

Texture

This assignment was about looking at the surface or element of an object and capturing texture and its feel in an interesting way. I chose to start with the flint of West Dean House, tree trunk bark and the wooden huts around the Gardens. I found the more I looked, the more abstract and intimate landscapes I could see within them. Within the wooden huts, I found a section of brown and orange which reminded me of lava.

Colour

Colour was a task which in on paper was the easiest, especially in our location with so many options in the Gardens. The intention was to make colour the subject – whether it fills the frame, shows how one colour contrasts with another or exploring the various tones in on colour.I made the choice to head straight back to the walled garden with blooming dahlias, rudbeckia and more. This is where I was challenged to making a photograph that wasn’t simply showing pretty flowers, it took some time to find interesting ways to capture them and colour. I ended up shooting through petals and selecting sections of a flower head to create interesting and minimal compositions.

Boredom/Beginners Mind

A bonus task for those of us that felt brave. We were to once again explore the house and Gardens, but this time find something mundane or what you might consider boring, sit with it for a while and consider the object as if you were a child. Then, move past the boredom of looking at it and create a photograph that shows a new perspective. Quite possibly a dull task to most, but one that I could recommend any photographer pursue to really push their boundaries.

A full rounded experience at West Dean

Tracy was on hand all weekend and during our tasks, with regular 1:1 guidance and feedback. In between our practical time for taking photos, we had time for editing, tea breaks and of course lunch – a chance to unwind, explore the Gardens and socialise before getting back to learning.

During our ‘classroom’ based time we also looked at what to look for in photographs and how to judge an image, with the opportunity to review a selection of images ourselves. Elements of composition, lighting, style, points of interest, colour balance and storytelling were examples of some of the things to look for and assess for success. A task that has come particularly handy for judging APOY and knowing what to look for in other people’s photos, as well as improving my own.

I thoroughly enjoyed Tracy’s course, and it was good to have an experience of macro and close-up photography without it being solely about insects and nature that are popular subjects in the genre. Tracy’s teaching and tasks were open enough for all photographers to be able to participate, and then also be able to apply in any scenario or location, and even within other genres beyond the course.

When you visit West Dean, you’re not just coming for the course and the expert tutors, there’s the Gardens to explore, the House, its heritage and Surrealism to experience. What’s more, there’s no pressure or assessments involved with the short courses, just creativity. Participating in lifelong learning fulfils our natural curiosity, reaffirms interests and motivation, and offers the chance to meet new people. I’d recommend to anyone.

Join a creative course at West Dean College

West Dean College regularly updates its programme of courses throughout the year with both repeats and brand-new courses at their Sussex campus in West Dean, as well as their new London campus in Bloomsbury. So, it’s worth checking out what they are offering in the next few months, but also following their communication streams for updates on the latest course news. Instagram: @westdeancollege

See upcoming photography courses and more from West Dean here.

Further reading:

• Amateur Photographer Student Roadshow – book your free ticket!
• Best Fujifilm X-mount lenses
• Dusk to Dawn – Share your low light photos to win a £500 voucher!
• Focus stacking: achieve pin sharp macro shots of delicate subjects
• Best smartphones for macro
• Impactful conservation photo wins Bird Photographer of the Year

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The post I went on a photography short course at West Dean College, here’s what I learnt… appeared first on Amateur Photographer.

Observe behaviour 

Spiders can be skittish, especially non-web-building spiders, so it’s key to know how and when to approach them. As with most insects and arachnids, early mornings and late evenings are the perfect times. Spiders are best approached from ground level and very slowly. Any shadows cast over them or fast movements will scare them away, so take your time, watch and study them to understand their behaviour.

Check the forecast

Butterflies are cold-blooded insects and generally won’t fly on cold, overcast days. But in full sun you should see them making the most of the warmth. While they tend to be more approachable in the early mornings when it’s cold, as they need to spend time warming up, images like this one are still possible in the heat of the day if you are patient and wait for them to pause.  

Switch to manual focus

Many insects blend in so well with their environment that the autofocus system on your camera can’t tell the difference between the subject and its surroundings. This is why most macro photographers use manual focus. Switching to MF puts the control back in your hands. By moving your camera’s focus ring, you can select exactly where the focus lands. It takes practice, but time and effort spent mastering this technique will be rewarded. 

Invite nature in

Gardens, no matter what size, are incredibly valuable resources because they offer easy access to wildlife – you won’t have to venture far to find some kind of insect, arachnid or plant subject. You don’t need much to start attracting wildlife to your garden: the smallest areas can provide a home, shelter and food. Allow a section of your garden to grow wild – you might be surprised by what grows, and what is attracted. Consider installing a balcony box or bug hotel – by providing this space you will be actively helping conservation efforts.

Make welfare a priority 

The welfare of your subjects and the environment they live in should always be a high priority. Never remove an animal from its natural environment to photograph it at home in a controlled environment. Take care not to destroy the homes of insects and arachnids. A simple spider web represents hours of work for its creator. The same goes for any creature that has captured prey – try not to spook them into dropping it, as it could be the only meal they’ve had in days. If an animal becomes stressed, it’s time to go.

Matt Doogue

Matt Doogue is a macro photographer, conservationist, outreach teacher and speaker on mental health. He has collaborated with BBC Earth, National Geographic and Canon and his images have been featured in many of the UK’s top photography magazines. To see more visit www.mattsmacro.co.uk or follow him on Instagram @matt85 

Matt’s new book, Close-up: The Complete Guide to Macro Photography, (published by Ilex) is packed with tips, personal experiences and beautiful imagery. To find out more, visit www.ilexinstant.com

How to photograph close-ups of Plants

Play by the rules

You might be working on a smaller scale – so no rivers leading the eye towards distant barns and no horizon marking the boundary between land and sea – but most of the ‘rules’ of composition still apply when shooting close-ups. The edges of leaves act as lead-in lines, the golden hours just after dawn and just before dusk still provide flattering light and the old adage KISS (Keep It Simple Silly) has never been truer.

Add some colour

Having a basic knowledge of colour theory can make it easier to notice attractive colour combinations, while playing down pairings that jar. If you don’t feel confident, an artists’ colour wheel can be useful. Complementary colours sit opposite each other on the colour wheel (red and green, for example) and when used together produce images with maximum contrast. Analogous colours sit close to each other on the colour wheel (yellow and green, for example) and when used in a composition tend to harmonise well. 

Get some sun

Bright, midday sun is often best avoided, but there are exceptions. Backlighting translucent petals or leaves can highlight their venation, leading to striking pictures. On the other hand, if the sun is causing problems, wait for a cloud to pass over, becoming a natural diffuser. Alternatively, use a cheap collapsible diffuser.   

Consider the background

A cluttered background can destroy a close-up picture, so make sure you give it ample consideration. The backdrop should complement the subject in some way, so think about how it adds to or detracts from the story you’re trying to tell. Check the background for any distracting colours, objects or highlights.

Search for perfection 

When you’re shooting close-ups every gash, blemish or tear in a plant becomes obvious. If you don’t want to celebrate the imperfections of your subject (as I did here) then be very choosy when you select a specimen. Some flower photographers grow their own plants, while others strike up a good friendship with their local florist. If you’re shooting in the wild, make notes of when plants are at various stages and then use this knowledge to plan your excursions each year.    

Tracy Calder

Tracy Calder co-founded Close-up Photographer of the Year – a competition celebrating close-up, macro and micro photography – in 2018. She has written numerous photography books and her work has appeared at The Photographers’ Gallery, The National Portrait Gallery and Saatchi Gallery. To see more visit www.tracycalder.com and www.cupoty.com 

How to photograph Fungi and slime moulds

Get down to ground level

Most fungi and slime moulds are on the ground or on pieces of dead wood lying on the ground. Getting the camera down to their level allows you to show the gills and makes for a softer background. Subjects on loose dead wood can be repositioned to make it easier (replace them afterwards). Alternatively, place your camera on the ground on a beanbag in a waterproof bag. Remember to wear waterproof clothing as the woodland floor tends to be wet and muddy.

Simplify your image

You need to make your subject stand out in what tends to be a messy and chaotic environment. Having a very soft background can be achieved by angling your camera upwards so the background is far away, and focus stacking with a wide aperture can allow you to achieve a sharp subject with soft foreground and background. Positioning the camera at ground level can give a soft foreground and shooting through a pile of leaves, as in this image of Jellybaby fungi, can frame the subject with a soft surround.

Clean up

Remove distracting elements such as leaves, pieces of grass or dirt from on and around your subject. Whilst these are a natural part of the environment, they may detract from the image by grabbing the viewer’s attention. A very soft artist’s brush, air blower, and needle-nosed tweezers can be useful to tidy up without damaging your subject. Always check the background and surroundings of the image because these are just as important as the subject. 

Look for interesting groupings

A ‘portrait’ type image of a single specimen may work well but finding a group can bring a ‘story’ element into play as the viewer can imagine a relationship between the subjects. In this image the two groups of the Enerthenema slime mould look as though they are listening intently to the small one between them.

Use additional lighting

Woodlands tend to diffuse and soften light, which can be lovely. However, adding a bit of directional light can help to show the three-dimensional nature and texture of your subjects. I often use two lights, placed slightly behind and to either side of the subject, creating a rim lighting effect on each side. LED lights, a small torch or headtorch, or even your phone can work. Be careful as it’s easy to overdo this and make the scene look unnatural.

Jeremy Lintott

Nature photographer Jeremy Lintott has long had a fascination with the natural history of fungi, and more recently slime moulds. He has contributed images to the illustrated edition of Merlin Sheldrake’s book, Entangled Life, as well as earning second place in this category of CUPOTY 04. To see more visit www.bluefernimages.com or follow him on Instagram @jeremylintottphotos. 

How to take creative Studio close-ups

Stay still

Oil drops in quite static situations, just floating on water, can give rise to good pictures, creating perfect circles and a sense of serenity. The key here is to elevate the composition into more than just a random group of drops. In this image the drops are deliberately organised, giving the impression of a footprint perhaps.

Keep calm

Keep colour simple and harmonious. Many images of oil and water have psychedelic arrays of quite random colours. Successful images can be produced, however, by judicious use of just two or three colours. To create calm and restful schemes, use harmonious colours (i.e. close to each other on the colour wheel). 

Try black & white

Although colour images of oil and water can be lovely, I have found that converting them to black & white often gives them more power. This can also help to bind together a set of images into a coherent whole. I did this successfully in my submission for Fellowship of The Royal Photographic Society (FRPS).

Get moving

More exciting and dynamic compositions can be created by moving the oil about on the surface of water (by blowing or pulling). This opens up a whole new avenue of exploration, leading to new opportunities.

Liven up

For more zing, use complementary colours (i.e. opposite each other on the colour wheel). Keep colour simple but lively. Also, think outside of the frame! These edge colours (red and orange) are refracted into the frame, from outside of the field of view of the lens, by the curved sides of the oil drops.

Reduce contrast 

The examples so far have all been high contrast with a chiaroscuro effect, but an alternative set of light and airy images are accessible by reducing
the contrast and creating soft pastel colours. Overall, it’s all about controlling the controllable factors and exploring the options available for creative effect.

Dr Martin Parratt

Dr Martin Parratt is a fine art photographer, driven to create something out of very little. He is partial to creative photographic techniques with appropriate post-processing methods and enjoys the refinement of an image. His preferred subjects are ‘things’ or places, and he likes to create sets of images. To see more visit www.parrattphotography.co.uk, 1x.com/martinparratt or follow him on Instagram @martinparratt   

How to take Abstract close-ups

Keep an open mind

Look for patterns, textures, lines or colour rather than specific subjects. Abstract photography requires you to look at the landscape from a different perspective, creating an image that isn’t instantly recognisable. By focusing close-up on textures or patterns the wider context of the scene is removed which helps create a more abstract and evocative photograph. This way of seeing can take practice so give yourself plenty of time, keep an open mind, slow down and tune in to the endless possibilities this type of photography opens up. 

Use creative post-processing techniques

Cropping is a great technique for abstracts – there are often hidden gems to be found within a larger frame. I use the Snapseed app on my smartphone which is full of creative tools including: double exposure, texture/grunge effects and lens blur. Playing with the double exposure effect on there is a fun way to get started with multiple exposures; try adding a layer of colour to your abstract image and see what happens.

Use your smartphone camera

Many of my abstract images are taken using my smartphone because I always have it with me, and abstract possibilities can be found everywhere. These cameras are incredibly powerful and with the wide depth of field and sharp detail produced they are ideal for getting images of patterns and textures that might be awkward or require a tripod or focus stacking with your ‘big’ camera. Sand and ice patterns that are often at your feet work particularly well on the phone. 

Pick out details

This will add mystery to the image and leave the viewer wondering what is outside the frame. Try zooming in with a telephoto lens or get really close with a macro lens. This is also a great technique if you’re struggling to ‘see’ abstracts. Start by zooming in on an area, look through the viewfinder or use live view on your LCD screen and slowly move around the scene until you find something interesting. Really think about simplifying here – how much can you leave out and still tell a story?

Experiment with different techniques

One of the joys of abstract photography is there are no rules; you are trying to create a visually intriguing image rather than a representational one so creative techniques come into their own. Try long exposures, intentional camera movement, multiple exposures, narrow depth of field, defocusing or over- or under-exposing a scene. These techniques will further abstract your images and make them completely unique.

Lesley Lintott

Lesley Lintott is a photographer, artist and educator, specialising in creating Impressionistic and abstract work using her phone or mixed-media painting. She finds inspiration in nature, solitude and being in remote landscapes. Having been a vet and then a talking therapist she now enjoys sharing her love for nature and being creative in a way that supports and inspires others. Visit www.bluefernimages.com or follow on Instagram @lesley_linto.

Close-up photography and mindfulness

Mind your language

The vast majority of photographers use the same words to describe their photographic process, with the words shoot, capture, take, and snap said by most. As we hear these words repeatedly, we take them on as our own. But there is a more heartfelt and conscious way to engage with photography that could revolutionise the images we photograph, and it all starts with the words we use. The photographs here demonstrate what’s possible when we switch our mindset from shooting to creating and making. 

Explore the word shoot

Find a subject you would like to photograph. Pause to allow yourself to connect with it before preparing the camera to photograph it. As you do so, consider whether you feel you are shooting your subject or whether another word feels more appropriate. Now, while looking at your subject, say, ‘I am going to shoot this.’ As you do so, notice what happens in your body. Repeat the phrase as you continue to photograph your subject. Does your energy and approach change as you do so? When you are ready to stop, pause and reflect on how you found the exercise. 

Explore the word capture

Capture is another word commonly used to describe the photographic process. While it may seem appropriate, it can evoke strong emotions and result in unease in the body. Reflect on a time when you witnessed something incredible unfold before you. You were fortunate to have your camera with you and able to capture a photograph of it. Take a moment to consider how you felt as you captured the image. Can you recall what thoughts were running through your mind?

Explore the word take

Take is another word used to describe the photographic process. On the surface, it may seem neutral, but as you delve deeper you might start to feel that this common word is not as neutral as it appears. What does gaining possession of something mean to you? When you photograph a subject, do you feel you are gaining possession of it? If you do, do you think the photo belongs to you? Gaining possession of something implies you have ownership of it. How do you feel about this? Do you own your images? Taking ownership of your photos could also suggest you have ownership of what is in the picture. How do you feel about this?

Shift your mindset

Look at any photographer who shares their work on YouTube (myself included). When they head out with a negative mindset, possibly speaking badly about the weather or seeing the equipment they chose to take with them that day as a disadvantage, more often than not, they either come away with no photographs or are displeased with the ones they do photograph. Then, compare this with a photographer who heads out and sees only opportunities regardless of external factors. More often than not, they photograph images and have a great time in the process. 

Explore the word snap

Snap can refer to the act of photography or replace the word ‘photograph’ itself. What subjects do you enjoy photographing? Write a list. Are your favourite subjects inanimate, or do they move? Are they likely to appear quickly and require a snappy reaction? Do you need to be alert and ready to photograph them, or do they require more patience and flow? Consider whether it’s possible to photograph even these fast-moving subjects from a more grounded place. If so, how would it feel to do this next time you engage with photography?

Kim Grant

Kim Grant is a nature photographer and content creator based in Scotland. Originally a nurse, she combines her knowledge in health and wellness with her artistic pursuits. She holds an accreditation as a health and wellness coach and has completed training with Look Again Photography in Working with Mindful Photography. See www.photographicconnections.com, Instagram @kimgrantphotography or YouTube @kimgrantphotography

Kim’s new book, From Shooting to Creating: How Changing Your Language Can Transform Your Photography, explores the words shoot, capture, take and snap and how they could be preventing us from creating the images we most desire. To find out more, visit www.photographicconnections.com  

Related reading:

• Can a phone take macro shots? Of course! Just don’t say ‘macro’…
• How to take great macro photos on a smartphone
• Depth-of-field VS focus stacking for macro photography

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Even so, experts will argue this is not proper ‘macro’ photography. So let’s dive in and see what this word actually means – and whether it’s still useful or relevant for the different camera types we use today.

What does ‘macro’ actually mean?

It’s all down to the precise technical meaning of the word. These days, the term ‘macro’ is often used to indicate just about any kind of close-up photography, or photographs of small objects. But where does close-up photography end and macro photography really begin? It’s all down to magnification.

The strict definition of ‘macro’ photography is where the object you’re photographing is reproduced at the same size (or larger) by the lens on the sensor. This is the so-called 1:1 reproduction ratio you hear about a lot in serious macro work. In regular photography, the lens is capturing a much larger scene or subject and shrinking it to fit on the sensor, but in macro photography you’re so close that it’s not shrinking your subject at all.

Here’s an example. Let’s say you’re photographing an insect that’s 36mm long (eek). A full frame camera has a sensor that’s also 36mm wide. If you take the photograph using a 1:1 magnification with a macro lens, the insect will completely fill the sensor width.

The example shots that go with this article are of a set of four toy robots less than 2 inches/25mm high. Some of the shots are ‘macro’ images, some are close-ups. It’s all a question of magnification, and sometimes the distinctions get blurred.

How are ‘macro’ lenses different to regular lenses?

There are only a couple of differences between a regular lens and a macro lens. One is that a macro lens is designed to focus much closer than an ordinary sort – it’s as simple as that. If you could make a regular lens focus closer and closer and closer it would reach the point where it becomes a macro lens. However, it’s impractical to make regular lenses focus this close – the focus mechanism and internal design of macro lenses is highly specialized.

There’s another difference. All lenses are optimized for certain types of subject matter and, indeed, certain focus ranges. Regular lenses tend not to perform as well at very close focus distances, whereas macro lenses are optically optimized for this kind of work.

So while in the old days you could get stackable extension rings or ‘bellows’ to move the lens further from the camera body and hence focus closer, this does affect the results. It’s why, incidentally, you could also get ‘reversing rings’ to make the lens face the wrong way. It sounds strange, but it helps.

With today’s advanced lens designs and optimizations, it’s no longer feasible to use extension rings, bellows or reversing rings while still maintaining optical quality and all the electro-mechanical lens-body communications modern cameras use. These days, if you want to shoot macro you need to invest in a macro lens.

How print and screen sizes affect the magnification

Of course, nobody ever looks at a photo at the actual size on the sensor. Images are enlarged by varying degrees for different screen or website sizes, or to make photographic prints. It’s all very well saying that an object is captured at ‘life size’ or at a 1:1 reproduction ratio by the lens, but when you blow it up to fill the screen or make a print, you’re applying a big magnification. Our insect might have been reproduced ‘life size’ on the sensor by the lens, but when we view the image it’s going to be massive.

That’s one reason why the idea of reproduction ratios and this 1:1 ratio for ‘true’ macro photography doesn’t tell you anything about how big objects will look when you display the photo. There’s another reason.

The sensor size messes with reproduction ratios too

This old-school definition of macro photography is very good at defining exactly how close you have to be and the kind of lens you need to get this 1:1 reproduction ratio. The trouble is, while it made sense when photographers were mostly shooting on a single format, mainly 35mm film or perhaps medium format, this definition becomes next to useless in the modern digital age.

Why? Because today’s smartphones and cameras use a huge variety of sensor sizes, mostly much smaller than the old 35mm film/full frame format.

So if you apply the same 1:1 macro rule to an APS-C camera, where the sensor is around 24mm wide, our 36mm long insect won’t fit in the frame. That 1:1 ratio doesn’t help us much here. In fact, you’ll have to move back a little to get the whole insect in the shot, so you will end up with exactly the same photograph, but a macro expert will argue it’s no longer ‘macro’ photography.

Mad, isn’t it? It would be much better to talk about macro photography in terms of the size of the subject or your field of view. Macro experts are right to insist the word relates to this specific 1:1 ‘life size’ reproduction ratio, but would have to concede that filling the frame with the same subject counts as the same effective magnification in the end.

So you can get into all sorts of arguments about whether phones or point and shoot cameras are capable of ‘macro’ photography, but if they can all fill the frame with the same subject, it seems pretty academic.

There’s still some woolly marketing hype to dodge, though. Some cameras and lenses have ‘macro’ modes that don’t focus close enough for small objects, just a bit closer than normal. There is a lot of vagueness about where ‘close-up’ photography ends and ‘macro’ photography begins.

So are macro lenses better than smartphone macro modes?

In a lot of ways, yes. Even if your smartphone can focus close enough to fill the frame with the same subject as a full frame camera with a macro lens, the results are going to look different. You can take ‘macro’ shots with a smartphone, for sure, but they may not look great.

First, the image quality won’t be as good. The sensor in a smartphone just doesn’t have the detail rendition or clarity of a proper camera sensor. A lot of the time it might not show, but if you make a big print or do any kind of image editing, you’ll certainly see a difference.

Second, smartphones use a lot of computational processing behind the scenes so that what you get might not be what you think. My iPhone has a ‘macro’ mode where it switches from the main camera to the ultra-wide camera when you move really close to a subject – that’s because ultra-wide cameras on phones adapt better to focusing this close (as long as your phone’s ultra-wide-angle camera has auto-focus). 

My iPhone does try to keep this swapover subtle, but you can still see it happening. It’s actually doing something rather clever, keeping the main subject the same size as it swaps lenses, by cropping the image – but you can see the background ‘shrink’ to reflect the wide-angle view. So as well as cropping into the image, there’s also some clever computational processing going on here, because if I just use the ultra-wide lens and move in closer, my subject looks more distorted and I get a different effect. 

Your smartphone may be doing a lot of behind-the-scenes juggling to capture ‘macro’ shots, and there are other ways that proper cameras and macro lenses can deliver better results, quite apart from having bigger sensors and more megapixels.

Apple introduced macro photography features with the iPhone 13 Pro, with the ultra-wide angle camera featuring auto-focus. If your camera has an ultra-wide-angle camera with auto-focus, check to see if you can shoot macro photos with it. Alternatively, if you have one of the latest Xiaomi, Vivo/iQOO, OnePlus, and other flagship Android phones, then you may be able to use the telephoto lens for macro photography. This will give you results that look a lot more similar to the results you’d get from using a camera with a macro lens.

One of the chief advantages is that you can shoot small subjects from further away with longer focal length lenses. This makes it easier to photograph timid insects, for example, and it means you’re less likely to cast a shadow over your subject with the camera.

Even more importantly, though, you get a much flatter and more natural perspective. You don’t get the same kind of close-up distortion you get from shooting right up close. Better still, a longer focal length lens doesn’t pull in so much of the background, so it’s easier to place your subject against a complementary and non-distracting backdrop.

Phones do have advantages for macro shots

First, shooting ‘macro’ shots with a phone is easy. You don’t need any special equipment or time-consuming setups. If you can get close enough and hold your phone steady for a second, you’ve got your shot.

You don’t get the same depth of field issues as you do with proper cameras and macro lenses, either. This is one of the technical headaches for serious macro photographers – when you use cameras with larger sensors, you’re also shooting with longer focal lengths, and this combination of a long focal length and ultra-close focus distances makes for razor-thin depth of field – even if you stop the lens right down to its minimum aperture.

Serious macro photographers will often use ‘focus stacking’ tools to take a whole series of shots at microscopically different focus settings so that they can be merged either in the camera or later in software to blend the sharpest parts in each. Often this is the only way to get all of the subject sharp.

Smartphones may be limited for macro work, both for image quality, perspective and background control, and may not reach the same levels of magnification as proper macro lenses, but they are quick and effective and dodge many of the technical demands of serious macro gear.

And while a photo expert might claim quite correctly that this is not proper macro photography, if you can still end up with a shot with a similar effective magnification, it seems like a theoretical argument not a practical one.

Smartphone ultra-wide macro vs telephoto periscope lens macro:

On the left is a macro photo taken with the Google Pixel 9 Pro XL, which uses the ultra-wide-angle camera and crops into the image to give a macro close up image. At first glance, the image looks good, with a great depth-of-field, and more of the photo in focus. However, when looking for detail, and viewed at 100%, the image is pixelated and fine detail is lacking.

In comparison the Vivo X100 Pro uses the 4.3x telephoto periscope camera, with close focus, and gives much more impressive pixel level detail. The background is blurred, and the image looks much more like an image you’d take with a real macro lens. The only issue is that the colour saturation is perhaps a little bit too high. JW.

So if you’re happy with the macro shots from your smartphone, keep taking them! But if you decide to move up to a camera and macro lens combo, you can expect better quality results for sure, and maybe higher magnifications, but it’s a pretty steep learning curve too.

Related reading

• Best smartphones for macro photography
• Best macro lens for mirrorless and DSLRs
• How to take great macro photos on a smartphone

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

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

Top 7 Macro flower photography tips

1. Use a tripod

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

2. Group shot

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

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

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

4. Creative cropping

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

5. Focus manually

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

6. Consider your backdrop

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

7. Viewpoint

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

Kit list for macro flower photography

Close-up lens

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

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

Reflector

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

Tripod

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

See more accessories for close-up photography here.

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

More reading:

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

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How to use your smartphone for macro photos

Your phone is probably not the first thing that you think of when it comes to taking close-up photographs. But what if you could achieve stunning results using just the smartphone in your pocket, giving you the option to grab close-ups while out and about wherever you are? Many smartphones that have been launched in recent years have a dedicated macro shooting capability, therefore allowing you to get super close to your subject and capture fine detail.

There are other ways to achieve good results too when using your smartphone for macro photography. Using the smartphone’s telephoto lens is one way to get good results, while there are also additional add-ons, loupes and lenses that you can experiment with.

It’s important to work out which camera on your smartphone is going to give you the best results, some use the ultra-wide-angle camera for close-ups, and some of the latest models give the best results with the telephoto lens. Make sure you check what your phone is capable of by reading our phone reviews, and if your phone has one, make sure you switch to the macro mode. As you’ll find out in this article, there are accessories available that can help you level up your macro photography with your phone.

• You can check out the best phones for macro photography. 

In this piece, we’ll be taking a look at three photographers who use their smartphones to create beautiful close-up work, each of whom will share their tips for getting the best results you can. As usual, if this is something you enjoy then we’d love to see your pictures. Get in touch via social media or email us at ap.ed@kelsey.co.uk

Smartphone macro photos by Jeanette Lendon

Jeanette is the creative director of Jet Black Squares Ltd. She teaches smartphone photography courses, more information about which can be found at jetblacksquares.com

Jeanette uses the iPhone 11 Pro but asserts that any phone, no matter its age, has the potential to take cracking close-ups. Her favourite things to photograph are ferns: ‘They look so magical when all curled up.’ She also likes raindrops, insects (if they stay still long enough), and flowers in buds.

‘Considering the size of the camera on the phone, they can produce excellent results. I don’t think the quality is as good as a dedicated macro lens – but then you aren’t paying lens prices.

‘Don’t dismiss the smartphone as not being a “proper” camera. It does take a bit of a mindset change, but as Rankin said on the Great British Photography Challenge, “stop thinking of it as a phone, and start thinking of it as a camera”.

‘You may also want to use a macro clip-on lens, which are very cheap and can produce good results. Just ensure they are clipped on correctly – they are best used without a phone case to avoid any light leaks by ensuring a tight fit. You will have to be virtually on top of your subject too, otherwise, you will just see a blurry screen.’

Jeanette’s top tips for macro smartphone photos:

1. Take your time and don’t zoom in. If you bring your phone in slowly, a good depth of field should be achieved.
2. If you have a close-up/macro lens or setting on your phone, then switch to it. By doing this, you aren’t zooming in and losing quality.
3. Touch the screen to set your focal point before you press the shutter. Being so close, it’s easy for the camera to focus on something else, so you have to be very specific.
4. Turn the phone upside down. It often gets you closer and gives a totally different view.

Using a smartphone macro lens for photos – Gem Toes-Crichton

Gem is an experimental photographer, artist and teacher as well as an amateur botanist. She uses photography as a way of examining plants, and their morphology and engaging others with the natural world more broadly. Take a look at capturedbygem.co.uk for more information.

As well as her DSLR and macro lens (Nikon D850/Nikon Df and 105mm macro lens), Gem is a keen user of her smartphone. She says, ‘I usually have a Kite 10x Triplet hand lens/loupe with me. My iPhone tends to be with me when out walking so I’ll use this teamed with a 10x hand lens/loupe to photograph and record the plants I identify in the field. It’s a handy and lightweight combination when I don’t want to carry heavy or expensive equipment.

‘Hand lenses/loupes can be picked up relatively cheaply from places that stock naturalist equipment, such as NHBS and Summerfield Books. Using a phone and a hand lens/loupe is quite a different experience from using a DSLR. It works well for me as I usually have my phone. I am particularly interested in plant morphology (the study of the physical form and external structure of plants), so it really depends on what you’re interested in photographing.

‘There are downsides, of course. You need a steady hand, there’s a smaller field of view (less in the frame), and you usually get vignetting from the barrel of the lens (which I quite like). You also need to get physically closer to the subject, which isn’t always going to work with wildlife. Overall, however, I think these limitations force you to think about composition, using the foreground as focus without distracting backgrounds.’

Gem’s top tips for macro smartphone photos:

1. The subject needs to be well-lit. You can take portable LED lights into the field with you, use a small reflector, or even take the subject home for closer examination. (Please be mindful about picking/removing protected wildflowers).
2. An elastic band is a good way of temporarily attaching a hand lens/loupe to your smartphone.
3. Experiment! Find out which results you enjoy, try different hand lenses/loupes, camera settings, angles and lighting until you get the results you like.

Smartphone macro photos by Mel Collie

Mel is a photographer who has been shortlisted in a number of different competitions, including Close Up Photographer of the Year. Her book, Elemental, was published in 2017. She runs workshops on mindfulness and using your smartphone for photography. For more details see melcollie.co.uk

Another user of the iPhone 11 Pro, Mel also has a small Manfrotto tripod with a smartphone mount for her close-up work. Occasionally she will also use an Olloclip 21x lens for microscopic detail. She says, ‘When I’m out and about, I might not have my camera with me, but I always have my iPhone. So when something catches my eye I can still take a shot. It’s always in my pocket, so I can readily get the shot that I want.

I like promoting the smartphone for photography because I would like to get people to use them less for scrolling and comparing their lives, and instead as a tool for a better way to see the world, and themselves.

‘During my workshops, I especially emphasise the idea of using the camera the way a person used to write a diary. Instead of labelling the smartphone as the enemy – because it’s not a “proper” camera – we can see it as a camera we can use to be fully engaged in the moment.’

‘A smartphone is great for many reasons, and they’re more flexible than you might think. Comparing the iPhone’s 12 megapixels to the 20 or more from a DSLR/mirrorless camera may mean your print size is somewhat limited, but I’ve been able to print my iPhone images to A2 size with no loss of detail.’

Mel’s top tips for macro photos:

1. Camera shake can be an issue, so I use my headphones to take the picture (press the ‘volume down’ button). This means I touch the screen far less. Alternatively, use the timer setting of 3 or 10 seconds which can help to minimise touching the screen.
2. To get the exposure right, tap the screen lightly to set the focus on the main subject, then gently swipe up and down to make adjustments (this is for iPhones, but Android devices generally work in the same way).

Related reading:

• Complete guide to Macro Photography
• Top 31 best close-up and macro photographs
• Everyday objects as alternative macro subjects
• Smartphone vs Digital Camera: Which is better?
• Best camera phone tripods and mounts

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Macro photography naturally opens up an entirely new set of opportunities for photographers by revealing the intricate details of the minutiae we so often miss. Many different techniques are used for shooting macro photography, which typically focuses on the natural world, but here we’re going to look into the perennial challenge of depth-of-field and sharpness.

Macro lenses are constructed optically to deal with resolving fine detail close-up, and they’re often some of the sharpest lenses available. But when working so close to a small or often tiny subject, the depth-of-field produced at settings that would typically render an entire landscape in sharp focus is reduced to just a small fraction of the macro subject. For example, shooting at f/11 could still result in a depth-of-field that’s less than a millimetre depending on the size of the subject.

The simple or, indeed, not-so-simple way around this is to capture focus bracketed shots and blend them into a single shot. Focus stacking is a technique where you shoot multiple exposures of a single subject at different focal planes/points of the subject, then merge them in editing software – a bit like HDR for exposure but this is all about depth-of-field. Shooting is the easy part once you get a feel for how to set focus in each shot to ensure a depth-of-field overlap; the tricky part can be the work that’s involved at the editing stage to ensure a clean and blur-free blend.

We’re going to compare the results of shooting a single subject at different apertures and a focus stacked version, alongside looking at two software blending options with a short introductory tutorial for each. But to get started, we have two focusing tutorials below that show different approaches to capturing focus bracketed images so you can use the one that suits your way of shooting.

How to focus stack with AF

Starting with a simple subject like this is a great way to practise focus stacking. This shot of a five pence piece is made up of 12 focus bracketed images taken at f/11. If you consider the size of the coin alongside the depth-of-field you can achieve at this aperture when shooting landscapes, it quickly brings the depth-of-of-field challenges for macro photography into sharp focus. 

1. Set up your shot

Set up and compose your shot, whether indoors or out. Using artificial lighting can make things easier because it maintains consistency, so use an LED light or off-camera flash unless you prefer natural light. Set the aperture to f/8 or f/11 with ISO 100. You can shoot in manual or aperture priority depending on lighting choice.

2. Focus stacking

With your camera attached to a tripod, position the active AF point right at the front of the subject and take a shot. Next, move the focus point up one position and take another – repeat until you’ve covered the subject from front to back. If the subject has an irregular shape, take additional shots around the edges and further inwards.

3. Use a shutter remote

With a medium aperture and a low ISO, unless shooting with off-camera flash, the shutter speed could be slow. With close-up work, even the slightest camera movements are amplified so using a shutter remote is a good way to avoid camera shake. These shots were over 1.5 seconds due to using a small LED, so a shutter remote was essential.

How to focus stack with MF

1. Set up and compose

Set up your camera on a focusing rail attached to a tripod, with the rail almost as far as it can go. Compose the shot and be prepared to move the tripod backwards or forwards to allow for close focusing. Set up your lighting, and shoot in aperture priority or manual at f/8 or f/11 with ISO 100 – shoot in manual if using flash.

2. Focus on the near edge

Manually focus as close as possible to the subject for the desired composition and adjust the tripod position if required. Next, turn the focus rail dial to move the camera backwards or forwards to focus, this is how you focus from now on, and zoom into the Live View image for precision to focus on the very front of the subject. 

3. Focus stack

Take a shot and then turn the focus rail dial a tiny amount to move the camera closer to the subject to adjust focus. Use Live View zoomed-in to asses sharpness, ensuring an overlap of the previous shot and repeat. If you don’t have a macro focusing rail, simply turn the manual focus ring a tiny amount for each shot, using Live View to aid manual focus.

Comparing depth-of-field & image quality

The advantages and disadvantages of shooting at different aperture settings and focus stacking at a medium aperture

At this stage, you may be wondering why all of the images so far have been shot indoors under controlled lighting, and the simple reason is that it removes several variables, including subject movement, that can make capturing and editing direct comparisons incredibly difficult. Here we have shots of a houseplant taken at three aperture settings – wide, medium and narrow – alongside a focus stacked version shot at f/8 to take advantage of the ‘sweet spot’ of the lens. The sweet spot is the aperture that resolves the most detail to provide the sharpest image, but not the largest depth-of-field.

You can shoot macro at any of the apertures used here depending on what you’re aiming for, but none will produce sharpness exactly where you want it. Unless, of course, your aim is to capture a buttery shallow depth-of-field at f/2.8 to produce a dreamy result with focus on the stamen of the flower, for example, and everything else falling off. Shooting at f/8 increases sharpness throughout, but when you zoom in you’ll find that the desired section of the image, the flower head here, isn’t pin-sharp at the rear. 

Even stopping down to f/22 doesn’t produce enough depth-of-field for the entire flower head to be pin-sharp, there’s still clearly visible fall-off. Plus, the negative side effects of stopping down this much are that the background, while slightly defocused, is still much sharper than wider apertures and may introduce an undesired messy background. Furthermore, diffraction comes into play which, in layman’s terms, is an overall loss of sharpness/image quality.

The middle aperture of most lenses, typically f/8 or f/11, is the sweet spot as previously mentioned. So, shooting focus stacked shots at one of these apertures produces the best image quality, while also providing enough depth-of-field overlap for a blend that works. Any mis-focusing can render a good result impossible. Then, once blended at the editing stage, the resulting image shows pin-sharpness throughout the desired part of the subject.

You can focus stack at wider apertures, such as f/2.8 or f/4, but for this, you have to take many more shots to ensure the overlap of depth-of-field. The difficulty here can be that the bokeh produced can make it difficult and sometimes impossible for a perfect blend, especially where parts of the subject overlap others.

Depth-of-field vs focus stacking – Which option is the best?

In terms of maximising depth-of-field with control over where this occurs, focus stacking wins every time. There’s simply no other way to guarantee what you might call a perfect depth-of-field in the desired part of the image. Shooting stopped down to f/16 or f/22 is never favourable, but if you’re aiming for a shallow depth-of-field for creative purposes or to maintain a clean background at the expense of depth-of-field, shooting at f/2.8 or f/4 can work well.

By the time you’re considering stopping down to f/8 or f/11 for a single exposure of a close-up subject, you’re still not necessarily going to be getting the entire subject in sharp focus. So, at this point, it’s often best to consider focus stacking where you’ll achieve a similar level of background sharpness as a single shot, but with the entire subject as sharp as it could be.

If you would like to take your macro photography to the next level read our top Macro Photography Tips and Techniques and macro photography lighting tips.

Don’t have a kit yet? No problem, our guide to the best cameras for photography and macro lenses alongside the best smartphones for macro will help you easily choose your new gear.

Related reading:

• How to get pin-sharp close-up and macro shots
• Focus stacking: achieve pin sharp macro shots of delicate subjects

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Helicon Focus 8 can load large numbers of images and blend them extremely quickly – in seconds. And although we worked with JPEGs here to keep things simple, with Adobe Raw Converter installed, you can even import raw files that are then exported to a new blended DNG file that can be processed in Lightroom. There’s also a Lightroom plugin that can be installed to make this process seamless. The strength of the software is the ability to use the Retouching Tools and all of the focus bracketed images, individually, to easily remove blur in the rendered image. Helicon Focus 8 comes with a 30-day free trial so if you shoot macro photography, it’s well worth trying.

How to blend focus stacked images with Adobe software

1. Process and stack

Process your images in Lightroom and sync the settings before checking Exposure is identical in each. Next, export in JPEG format to a folder on your Desktop. Open Photoshop and go to File>Scrips>Load Files into Stack. Select Folder from the Use dropdown menu and find your folder of JPEGs. Check Attempt to Automatically Align Source Images and hit OK.

2. Auto-Blend Layers

Once the images have loaded as aligned Layers, select all Layers then go to Edit>Auto Align Layers and make sure Stack Images and Seamless Tones and Colors are checked. Click on OK to begin the automatic blend and go and make a cup of tea or do something else because this process can take five minutes or longer depending on the number of images.

3. Crop and retouch

Once blended, crop the empty space and obvious alignment lines and blur from the edges of the image. Right mouse click on the active Layers and select Flatten Image. Next, zoom in and check for blur. If there is blur or misalignment, this can be removed by identifying which image you need and loading this in as a Layer to blend with Masking and by using the Remove Tool.

How to blend focus stacked images with Helicon Focus 8

1. Process and import

Process your images in Lightroom and sync the settings before checking Exposure is identical in each. Next, export in JPEG to a folder on your Desktop. Open Helicon Focus, then the folder on your desktop and drag the images into the software interface and the source images will load into the software ready for Rendering into a single focus stacked shot.

2. Render images

By default, Helicon Focus is set to Rendering Method B (depth map) with Radius at 8 and Smoothing at 4. Leave these settings in place because they typically work well and as a beginner to the software, this keeps things simple. Click the Render button and Helicon Focus will merge all of the individual shots in a matter of seconds, showing the depth mapping in the process.

3. Retouch the blur

Click on the Retouching tab at the top of the two image windows. On the left is the active Layer/bracketed shot, and on the right is the rendered image. Zoom in, and where there’s blur or ghosting, click on the Source image stack on the right to find the correct Layer and simply paint in sharpness. Continue all around the image until as much blur is removed as possible.

If you would like to take your macro photography to the next level read our top Macro Photography Tips and Techniques and macro photography lighting tips.

Looking for a guide for a specific subject have a look at our helpful guides on how to shoot insects and our Top tips for close-up flower photography with a macro lens.

Don’t have a kit yet? No problem, our guide to the best cameras for photography and best macro lenses alongside the best smartphones for macro will help you easily choose your new gear.

Related reading:

• How to get pin-sharp close-up and macro shots
• Focus stacking: achieve pin sharp macro shots of delicate subjects
• Best editing software for close-up and macro photography

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