Macrophotography – creative portraits of small things

Macro photography typically takes place at an image scale of around 1:1. – an area that only real macro lenses can reach with their very small, close-up distance (i.e. the minimum distance where the lens can still focus) and which can be technically demanding and interesting, but quickly lost its appeal for me. I’m more interested in aesthetic portraits of small things, which is why I favor a different approach to close-up photography in terms of technology and image design.

What makes close-up photography so exciting for me is the interaction of sharpness and blur, the creation of an appealing bokeh and the reduction of the focal plane to the crucial parts of the image. In addition to the luminosity of the lens used, the closest focusing limit and focal length, (the maximum possible magnification), are also important depending on the size of the subject. That’s why I particularly like using portrait and telephoto lenses for this type of photography.

The Correct Focal Length

The eponymous area of application of portrait lenses – people photography – is significantly extended by a short focusing distance, which also makes them quite useful in nature photography. If necessary, I increase the “macro capability” by using extension rings or teleconverters. Particularly in spring and early summer, when the plants are sprouting, flowers are blooming everywhere and butterflies and dragonflies are at their peak, image scales from 1:5 are usually sufficient for me to portray these somewhat larger subjects in their microcosm.

Flexibility is essential, especially when shooting subjects in the forest, where you can’t always choose your perfect location and not every shooting distance makes sense due to the green tangle of vegetation close to the ground. Your choices often come down to either the “right” subject growing in the perfect spot, or in the choice of the right focal length. Even a slightly longer focal length can make a big difference to the available foreground bokeh. The shorter the focal length, the closer I get to the subject and the less vegetation there is between the lens and the subject for the opportunity to create a soft, blurred foreground.

In order to achieve a harmony of foreground blur and background blur, it usually helps to meticulously test a number of perspective options only. In this way, very appealing bokeh image compositions can be found with a wide range of focal lengths. A very soft, playful bokeh, such as a delicate blur that harmonizes with the main subject and leaves enough space for the subject, is particularly suitable for flowers.

In situations where a large, high-contrast background is to serve as a “backdrop” for the subject, I tend to use shorter focal lengths, such as around 85mm, for subjects on the forest floor. For macro subjects in an open area, I like to use long telephoto focal lengths to exclude the sky due to the narrower angle of view, and to create a cleaner and calmer image composition. Placing the subject precisely in a blurred circle is also usually much easier with telephoto focal lengths. For this type of photography, I almost always leave the aperture completely open. Even when the aperture is open, the sharpness of today’s lenses is usually absolutely perfect, at close range and right up to the edges of the image.

The Perfect Image Composition

I want to portray the small subjects in their habitats in a way in which the blur gives an idea of how fascinatingly harmonious the subject and the environment are bound and intrinsic to nature. I don’t want the subject to be swallowed by the play of light and shadow in the background, therefore a meticulous choice of perspective and utilization of the subject contrast is necessary. If possible, I choose my perspective in a way that brings the brightest area of the background, and entire image section, behind my main subject, maximizing the contrast. In backlit situations, the high-contrast, blurred circles such as those in the portrait of the snowdrop, or the light fringes of “hair” found in the pasque flowers and primroses, are suitable for increasing the contrast and, hence, the attention. It is not always enough to change the perspective only. Changing the focal length is often all that is needed.

I want a soft finish to all sides of the picture and no sharp or particularly high-contrast structures that draw the eye to the edge of the picture. The viewer’s gaze should remain in the picture, on the main subject, for as long as possible. With telephoto or portrait lenses, a soft bottom end of the image is created automatically when the camera is placed on the ground – towards the subject.

The meticulous alignment of the camera to achieve a perfect optical axis that harmonizes the foreground, subject and background and ensures a homogeneous image look, is not easy, but the effort always pays off.

About the author – Daniel Spohn

As a photographer, photo tour guide and biologist, Daniel Spohn from Germany looks for unique and exciting subject matter from around the world. As a lecturer and photo instructor, he is happy to share his experiences and knowledge with his students and tourists. For him, photography means intensive engagement with his subject, his surroundings and the lighting that affects them. Whether in Africa, Australia or the Arctic Circle, his preference for breathtaking landscapes, impressive wildlife and preserved (often threatened) nature draws him to the remote regions of our world, capturing the fragility of the moment. He is also enamored by the “wilderness” found at his doorstep in Germany and Europe.