Basic Macro Photography

Overview:
This site will introduce you to basic macro photography. Most of the images on this site w
PowerShot S3. When accessory lenses are needed, I typically use either a Raynox DCR-2
close-up lens. I'll try to cover various lighting techniques. Some of the images you'll see
offer suggestions to keep you from making the same mistakes. Since this site is going to
photography on a budget, I'll try to show you how to get the most of the on-board flash.
lots of different home-made flash diffusers.

A few quick notes:

If you have questions about the operation of the lenses and/or cameras mentioned on this site, fee
If you want to comment on the content that I currently have (all constructive comments welcomed
I've used relatively large images on this site. If you're using a screen resolution of less than 1024x
use this site. With the large, high resolution monitors becoming more available and more affordabl
unusable if I designed it for use at low resolution. Also, I know how frustrating it is to have tiny im
are unable to increase the screen resolution on your computer and are really interested in the info
Opera browser and set the display size (zoom) to 70%.
Much of the information here may seem obvious to those who are experienced photographers. This
are just getting started. It will show them the equipment and the photographic results (both good a
techniques.
The images of some of the spiders and such (must click links to see) may be disturbing for young c
very detailed.
When learning this type of photography, you will take bad photos. You may have to take 10, 20 ma
certain types of objects. Don't give up. Too many people give up if they can't get it right the first or
will prevent them from doing great things. With digital cameras, there is essentially no cost for bad
better.
If you're using a screen resolution of 1024x768, you may want to use the F11 function to go to ful
again to return to normal mode.

Monitor Calibration

If your monitor is properly calibrated, you should be able to see a slight difference betwe
the second row, you should be able to read "Basic Macro Photography" in each block. If y
properly calibrated monitor, you should be able to read it in the third row also. You can u
monitor as well the software supplied with your video card to make the adjustments. Wh
try to get the left-most block absolutely black (not dark gray) and try to get the right-mo
bright as it can be). Before you make any adjustments, I strongly recommend that you m
settings. For those who are not computer savvy, it may be difficult to get back to your cu
don't know what they were.

Basic Macro Photography Basic Macro P

Basic Macro Photography Basic Macro P
 Main Menu
1. Basic Equipment
2. Choosing the Best Setup
3. Flash Diffusers
4. Depth of Field
5. Monopod/Distance Gauge
6. Color Cast from Surroundings
7. Extended Exposure
8. Light Sources
9. Influence of Ambient Lighting
10. White Balance Failure
11. Proper Exposure
12. Compressed Gas Dusters
13. Further Softening the Flash
14. Close-Up Lens Comparison
15. Diffuser Comparison Shots
16. Other Styrofoam Diffusers
17. Shooting Flowers
18. Photographing Clear Bottles
19. NEW - Photographing Wine Bottles
20. Photographing Coins
21. Basic Jewelry Photography
22. Miniature Clamshell Stage
23. Dark Images
24. Inexpensive Light Table Flash Units
25. Inexpensive Light Table Using CFLs
26. Shooting on a Glass Stage
27. Building a Mini-Studio
28. Photographing Electronic Equipment
29. Random Notes
30. NEW - Photographing Live Insects
31. Sample Images (mostly images of insects)

Basic Equipment:
In this tutorial, you will see equipment that can be purchased on a relatively small budget
will allow you to purchase top_of_the_line macro equipment with specialized flash device
Of course, you're welcome to visit but this is intended for beginners and those with a tigh

Generally, the camera is the most expensive piece of equipment. It's important to get a c
lens, a good zoom factor (10-12x) and some way to attach accessory lenses to the came
a zoom lens don't allow you to attach close-up lenses directly to the lens so you must att
the camera. On this camera, I use a LensMate adapter to attach the various close-up lens
comparison images while on their site). They connect to the camera with a bayonet type
has either 52mm or 58mm threads for accessories. Even if you don't need accessory lens
the fragile zoom lens assembly.
A note about super zoom cameras... Super zoom cameras (generally those with 10x or h
for super high quality images. As with anything, when you push technology to the limit, s
There are always tradeoffs. For the non-pro photographer, the newer super zoom camer
quality images for all but the most demanding situations. For macro photography, the zo
objects larger. The close-up lenses allow you to focus closer, but without significant zoom
may not be large enough to be useful.

In the adapters below, you should note that the interior of the barrel is black. If you buy
interior, you need to paint it black (flat black). I purchased a cheap silver adapter for my
images that were taken in bright light with the adapter in place were washed out. After pa
was much better.
The photo below shows most of the lenses and adapters I'll be using in this tutorial. From

This is a Raynox DCR-250 mounted in a 58mm Lensmate adapter. Since the lens ha
step-down rings to make it fit. The Raynox-supplied clip in adapter worked well eno
comfortable with a threaded mounting connection. This lens is suitable for relatively
maximum with the Canon S3). It can provide good resolution for items 1/4" (~6mm
The next piece is actually a cheap wide angle adapter (widely available on eBay). Ma
two pieces. The rear section of the lens can be used as a macro lens. I believe that t
to be used with camcorders which have a much lower resolution than most digital ca
lens may have worked well enough. For any sort of critical macro photography, the
Of course, that's my opinion. I'll show the results with several lenses later (including
Just to the right of the camera, you can see a simple close-up lens. These typically c
+2 and +4 diopter lenses. These are relatively good for what they cost (~$30/set).
most useful for the work I've done using this sort of lens. In a pinch, you can stack
subject (larger image in frame) but the minor problems that you encounter with a si
when multiple lenses are stacked.
The large assembly in the back is a 50mm lens attached to a Lensmate adapter usin
male threads on both sides of the ring). The lens is reversed (relative to the way it's
work relatively well but sometimes it's difficult to get the lens' diaphragm to open fu
and the working distance relatively short, it's difficult to get enough light (from the f
be overcome by using a reflective type enclosure which will be covered later.
Last but certainly not least is the Raynox MSN-202 lens on another Lensmate adapte
very small subjects. Something the size of a mosquito is near the maximum for this
subjects (like the images of the mites and the diamond phonograph stylus found on
For someone just getting started in macro photography, I'd recommend the Raynox DCR
lens of those shown. If you find you want to photograph smaller items, the MSN-202 wou
need to photograph relatively large items (up to ~2ft in length), the close-up diopter lens
job. They allow your camera to focus closer than they are able with no close-up lens. Wit
use the camera's zoom to vary the amount of magnification.

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Choosing the Best Setup:

When you need to photograph an object, you must make a few decisions. These will dete
photos. When experimenting, you need to take careful notes. This file will remind you to
information. Use the 'click to print' button for best results.

Choosing the correct distance to the object is important. If possible, set the object at a d
the middle of the range of focus for the camera/lens you have. With small objects, you m
object large enough in the photo. For example, if your camera has only a 4x zoom and w
feet, a relatively small object may be very tiny in the resulting photo. To make the object
closer. Since the camera won't focus closer, you'll need accessory lenses. The diopter len
close-up lenses will allow you to get closer to the object which will make it larger in the p
covered as you work your way through the site.

Lighting is very important. If you have only a basic point and shoot type camera that doe
adjustments (shutter speed, flash power...), you'll have to try the various 'scene' setting
likely that you'll have to use a flash diffuser to prevent dumping too much light on the cen
many types of diffusers. To adjust the light levels, you can adjust the distance between t
object, you can adjust the shutter time (when using long exposures) and you can change
the lens (smaller aperture, higher f-number = less light, darker image). All of this is easie
mode (if that's available on your camera).
You'll have to decide whether to use the flash or not. There's no way to determine which
Some objects work better with long exposure times. Others work better with the flash (e
employs noise reduction on all photos with long exposure time).

The background and work surface are also important. You don't want the object to get lo
want the colors of the background to work well with the object. Anything in the grayscale
background (assuming that the object is not mostly gray). Strong colors must be selecte

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Flash Diffusers:
In the previous image, you may have noticed the plastic bag on the adapter. The flash on
illuminate subjects at a fair distance from the camera. When doing macro work, the flash
cameras can reduce the flash power when they focus on close subjects but when the cam
close-up lens on it, the camera may not compensate properly. The plastic bag contains p
diffuse the flash. It both reduces the light reaching the subject as well as spreading the li
types of home-made diffusers. I'll show you several. In general, I'm not concerned about
camera or lenses. I use duct tape for all sorts of things (something I learned from Red G
rubber port covers out of the way of the port (as you can see that I've done on my came
diffuser (well placed strips of tape can reduce the output of the diffuser).
If you want to look and sound more professional, use "gaffer's" tape instead of duct tape
properties as duct tape except for the adhesive (which is not supposed to transfer onto t
applied). I purchased a roll manufactured by Shurtape and it works very well (strong and
A note about 'macro' photography... In the world of film cameras, the term macro applie
life-size image on the film. Here I use the term a little more loosely.

The next 3 photos show how the flash functions with and without diffusers. All are with th
(no close-up or accessory macro lens). I don't like the super macro function on this cam
barrel distortion (a rectangular object would have a shape similar to an old wooden rain b
diffuser. Here I left the 58mm adapter in place. Normally, you would get some darkening
but not quite this bad. As you can see, where the flash hit, the image is blown out (bright
maximum the camera can process).

Below, I used a 'bowl' diffuser. For this type of diffuser, you simply cut a hole in a styrofo
onto the adapter or lens barrel. I press the back side of the adapter into the bowl to mark
needed and make a few relief cuts to allow it to slide on. This prevents it from turning. As
cumbersome diffuser. If you need to get the camera close to a surface (to allow a low an
difficult to do with this diffuser.
In this next image, I used a 'can' diffuser. The results were essentially the same as the bo
less diffused and the shadows more intense but very good otherwise. This diffuser is pro
because it more easily adjusted and more durable. When using something like the Rayno
good diffuser because it projects a more concentrated beam, a little farther than the bow
For those who want to see the diffusers on the camera, your wait is over. You can chang
type diffuser by rotating it (if you cut the hole off-center as I've done). You should exper
for you.

This shows a more durable version of the bowl diffuser. Sometimes, the relief cuts run m
loosely. Punching round holes (with a paper hole punch) distributes the force and helps t
trouble with light leaking through the holes (I haven't as of yet), use only relief cuts or us
holes are closer to the lens adapter. This also works. If/when the diffuser gets loose or if
adapter tube, wrap rubber bands around the tube at the point where you want to diffuser
retracting lens barrel. The rubber bands could cause damage to the lens mechanism.
I can't take credit for the idea of the can type diffuser. I found something similar on a for
where. The photographer had some sort of egg shaped end on the can. Here I used a pla
Light Diet Lemonade. To make the diffuser, I cut the top out of an aluminum soda can an
can so that the camera's flash can fit into the can. Then I made some relief cuts in the Cr
over the can. There I fixed it in place with some duct tape (fancy, ain't it?). I hold it on th
Not having it firmly affixed to the camera is handy because you can vary the light output
(at an angle to the lens barrel).
When/if you build one of these, you should use something to protect the camera's finish
can. I folded the edges of the can over but it wasn't enough. The padding in the center o
towels (I told you this was macro on a budget). You can use something better if you'd lik
If you look at the bottom of the diffuser (top, as its oriented in the photo), you can see th
the diffuser extends beyond the front of the lens, this can cause lens flare. Use some opa
of the diffuser. When you make tear-away pieces for this diffuser, fold the ends of the tap
stick to anything. It makes it easier to remove. The opening in the bottom of the diffuser
situations. The next two images were shot with the bottom of the diffuser open. This was
lenses. The camera was set to super macro. There was lens flare at the top of each photo
The photos above were taken in relatively bright daylight conditions. They look as if they
fast shutter speed and/or a small aperture was used.

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Depth of Field:
One of the most frustrating aspects of macro photography is the lack of 'depth of field'. T
the photo from far to near that's in sharp focus. At high magnification, the DOF is signific
better to use less magnification (simply don't zoom in as much) and then crop the image
high magnification. The full frame is just what you see (the image was resized but not cro
#3 is in clear focus but little else is in focus. This would be OK if that's all you were intere
case.
This next image was taken with the same setup as the previous image but I zoomed out
image. As you can see, much more is in focus.
To get more depth of field, you need to use a higher F-number setting. For most digital c
F-stop is F8.0. When you increase the F value, you are shutting down the aperture in the
reduces the light hitting the image sensor. To get sufficient lighting, you must either use
a flash (or other source of light). If you're photographing a still subject, extended shutter
photographing something that's moving (even very slightly), then you need to use a flash
I shot the image above at F8. The image below was taken at F3.5. The only change I had
output. I had to almost completely cover the front of the can diffuser with tape to preven
you look at the fuzzies along the top edge of the spool, you can see that fewer are in sha
F3.5.
In the next image, you can see the small poly-fil diffuser in three different positions. Each
results. The first produces the darkest image. Moving it to a vertical position, you get mo
full forward position, the difference is subtle but sometimes you only need a subtle chang
Of course, intermediate positions cast varying amounts of light on the subject. This is a v
more than any other.
Note: The image above is a Flash graphic file. You can right-click to zoom in. Use your le
when zoomed in.
If you look at the glare on the top of the plastic, the front of the metal housing and the lig
(in the images above and below), you can see differences due to the difference in the ang
For those who want to see the stylus up close... click. That photo was taken with the Can
budget, you can still take nice macros. This photo is of the same subject but was taken w
C-740) that you can buy used for less than $100 on eBay. Both were taken with the MSN
adapters made specifically for each camera.

A note about diffuser materials... Some materials will cause a color shift and produce inac
this, you can use the manual white-balance to compensate. I'm not sure how many came
used with the flash. My Olympus C-740 won't fire the flash when setting the white balanc
fire the flash to set the white balance.

Below, you can see the C-740 with the close-up lens. I use the same type of diffuser (ba
The wires go to a slave trigger that I use to fire a larger flash.
Click to Return to the Main Menu

Monopod/Distance Gauge:
When photographing small critters that are on the move, it's difficult to get the camera to
magnification) because it's difficult to find the small range in which the camera can focus
quickly, I rigged the following monopod (of sorts). I set the camera to manual focus and
its range. I then cut the rod to a length that would position the camera at that distance fr
the rod on the surface of a specimen (generally very small - less than 5mm), the camera
tape is on the end to prevent slipping on hard smooth surfaces. The rubber band holds th
the tripod shoe (this didn't affect the operation of the shoe). The rod fits loosely. This wo
fine-tune the area of focus without moving the rod on the surface. You can wedge your f
the lens adapter barrel to stabilize the camera.
Below, you can see a variation on the idea. I've clamped a small ruler between the camer
Notice that this is the MSN-202 lens which has relatively high magnification. I use it when
creatures. The fact that it's easily adjustable (loosen shoe and slide ruler) makes it easy t
heights. Remember, at high magnification, you have a very shallow depth of field and the
is very critical. To photograph an individual that's only ~1mm high, you have to clamp th
those insects with long legs, you have to extend the ruler slightly so that the camera can
Sometimes, if only a very slight adjustment is necessary, you can tilt the camera a little f
the proper distance to allow the camera to focus. With the solid rod shown above, stabili
necessary 'sometimes'. With this flexible ruler, you MUST hold your fingers between the r
barrel to stabilize the camera.
 Notes:
Both of the previous images are larger than shown here. Drag the image to the addr
it full sized. You may have to tell the browser not to automatically resize the image.
The images above show you the approximate working distance for the Raynox DCR-
this camera.

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Color Cast from Surroundings:

When photographing items that have to be color-correct, you need to be aware of your s
surroundings with neutral coloring (gray to white). If the surroundings include barriers or
they can affect the color of the object you're photographing. In the next example, you ca
left is silver/gray as it should be. The one on the right has a distinct pink cast to it. This w
off of an object several inches out of the frame (on the right).
Click to Return to the Main Menu

Extended Exposure:
Earlier, I mentioned using long exposure times to compensate for a lack of light (particula
apertures). This typically requires the use of a tripod and the timer on your camera. Sinc
you will move the camera slightly when you press the shutter button. Using the timer del
and allows you to remove your hand from the camera before the shutter opens.

When you set a tripod to the desired height, there are two ways to do it. You can use the
or you can adjust the legs to something between all out or all in. It's best to have the rise
position to provide the best stability. If it's difficult to get just the right height, you can se
desired height then use only a short length of the column for fine adjustment of the heigh
is so weak that the camera will shake significantly from something as simple as pressing
have a heavy camera on a weak tripod, it's possible that the camera will continue moving
timer.

Unstable Very
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Light Sources:
When using a light source other than the flash or daylight, you will likely find that the ligh
to be too green (fluorescent lights) or too red (incandescent lights). For film cameras, yo
filters to compensate. Digital cameras typically have a 'white balance' function that correc
you're using. Generally, to set the white balance for the lighting you have, you aim the ca
surface and press the white balance button. From that point on, until your camera's setti
compensate for the lighting you have. The following photo was taken under fluorescent li
taken with the white balance set to daylight/flash. The image on the right was taken unde
white balance was set to compensate for the fluorescent lighting.
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Influence of Ambient Lighting:

Since ambient lighting and shutter times were mentioned, now may be a good time to dis
lighting when using a flash. In general, the flash will swamp-out any ambient light source
you have bright room lighting and are not using a diffuser, the influence of ambient light
shadow areas. This can be avoided/lessened in several ways. A diffuser is an obvious sol
for manual control, set the shutter speed as high as the camera will allow. On the S3, it's
higher shutter speed, the shadows will be darker but at least they won't be orange or gre
light source) .You can also use a reflective enclosure to bounce more light into the areas
shadows. In the following image, you can see that the left of the photo has a green tint (
the right of the photo has a red tint (from incandescent lighting). Here I had the camera
no diffuser. That's a slower than normal shutter speed but it helps to show you that amb
undesired effects on a photograph. If your camera doesn't allow for manual adjustment,
should set the shutter speed higher. If your camera also sets the ISO rating higher in spo
with noisy/grainy photos. Try to find a setting that will allow high shutter speed and low I
Click to Return to the Main Menu

White Balance Failure:

Auto white balance often fails if there is no white in the photo. In the following photo, you
(supplied with the Lensmate adapters to serve as a dust cap). The image on the left was
paper to set the white balance. The center and right images were taken using the auto w
image, there are no white or gray areas for the camera to use as a reference. In the right
background and the silver clip holding the cap. The camera could use either as a referenc
(as it did on the right).
Click to Return to the Main Menu

Proper Exposure:
When photographing an object, you need to get proper exposure. In general, this means
exposed well enough to see the details of the entire object. For some objects, this is eas
below were photographed with the camera set to manual. They were exposed for 0.2, 0.
under normal room lighting. The first photo is obviously under-exposed. The details of th
completely lost. Even using software, there is virtually no way to enhance the photo to an

The next photo may be considered to be under-exposed by some but it's salvageable if y
Looking at the watchband, you can see the texture of the surface of the band virtually thr
while a bit dark, has pretty good detail. In this photo, you could selectively lighten the fac
When the fine details are important, like the texture of the metal surface, you have to cap
Brightness, contrast and sharpness can all be modified but if you don't capture the impor
there's little that you can do to recover them.
The face of the watch below is better than those above but the band is somewhat blown
You can see the texture in very few areas. If you had an object like this to photograph an
perfect photo, you could use a program like Photoshop to combine the best parts of each

While some may think this is the best image because it's the brightest, it's actually very b
out areas to consider this to be a good quality image.

The following image has been "shop'd" (edited in Photoshop). I cut and pasted the face o
This resulting image could be considered to be a relatively decent photograph. Of course
professionally done, there would be no reflections in the watch crystal as I have here. Th
like when a little more time is spend trying to get it perfect.
Click to Return to the Main Menu

Compressed Gas Dusters:

 Compressed 'air' dusters can
devices but I'd warn against
camera. If you use these to
such on your camera, you m
camera body. There's no gua
connectors provide an air-tig
the camera body, it could en
inside of the lens. If you app
sensitive diaphragms (used f
they could be fractured. Eith
that you send the camera to
It's unlikely to be covered by
use it to clean the close-up le
to your camera, that would b

When the can is full or near f

vertical. If you tilt it, you ma
damage the surface of the le
bystanders. The chemical us
used as a refrigerant and is V
atmospheric pressure. If you
to tilt it to dispense liquid, ai
and begin spraying while inc

You should know that some

additives that deter their use
some of these additives are f
danger when liquid is dispen

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Further Softening the Flash:

I don't know if you've noticed but many product images taken by professionals have no s
being photographed. This can be accomplished in several ways. The simplest is to constr
Below, you can see that I've taken an ordinary shipping box and folded it inside-out. It's
designed because it worked better the way I have it here (it would have been much smal
As you can see, there is virtually no shadow around the objects. What little shadow you s
Comparing the image above to the one we showed you previously, you can see that the
significant. The diffuser alone does a good job but having the objects inside a reflective e
even better (if you define better as having fewer/softer shadows).
Above I mentioned that there was at least one more way to reduce the shadows. Many p
mounted under the table on which they place their objects. The table is translucent so th
the objects are lit from the bottom, there is virtually no chance that they'll have a shadow

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Close-Up Lens Comparison:

This page shows the difference in the images from 4 different close up lenses. When you
the images will be large but only a fraction of their true size. Follow the instructions near
them full size. When displayed actual size, you'll have to scroll to the center of the image

For those who don't recognize this bit of ancient technology, the device is a magnetic pho
reference, the end of the tube in which the stylus is mounted is less than 0.024" wide (~
knew that it had a small, precisely made stylus.

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Diffuser Comparison Shots:
This page shows you several images taken with a +4 diopter lens and either a can-type d
diffuser. I offer my opinion on the various images but you can decide for yourself which y

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Other Styrofoam Diffusers:

This page shows different ways to use the bowl diffuser and a styrofoam cup as a diffuse
found on various sites on the internet. As always, you should experiment to see what wo
and subject.

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Shooting Flowers:
Ok, I'll admit that I don't really like taking photos of flowers. It's too much like art. I'm m
technical side of photography. To show you a few different results with flowers, I put tog

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Photographing Clear Bottles:

If you have to photograph a clear/transparent/translucent bottle, this page may be helpfu

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Photographing Wine Bottles:

If you have to photograph a wine/spirits bottle, this page may be helpful.

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Photographing Coins:
This is a basic introduction to photographing coins. There are many ways to get good im
examples with various lighting and backgrounds.

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Basic Jewelry Photography:

Most of the tutorials on the internet show jewelry photography skewed towards the use o
page, I'll show you how to get reasonably good photos for minimal cost. The first images
lighting choices. As the page progresses, the quality of the photos gets better.

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Miniature Clamshell Stage:

This page shows you a few images taken in a clamshell stage comprised of 2 styrofoam s
stage/setup used for the jewelry page.

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Dark Images:
I often take photos that may seem a bit under-exposed. This is done to preserve detail in
have areas that are blown out, that information (what the surface looked like) is forever l
get the exposure just right (which may initially seem a bit dark), you can edit the image a
times, the best way to change the brightness of a well exposed image is through the 'cur
software. If it has no curves function, use the gamma and contrast to get the image to yo
and curves images are a bit different but that's because I didn't take the time to match th
acceptable to me.

This dialog box is from Ir

lot to crop, resize and ma
This program allows you
contrast. It shows you th
are happy with the result
to the original.
 This dialog box is from th
similar to Photoshop). To
a point on the diagonal lin
center of the line and mo
left corner of the box is o
significant improvements
little higher on the line. W
you have two sets of leve
grayscale bar is the outp
grayscale bar has two se
full spectrum. The top ha
Here, you can see what w
now brighter. The top an
changed (as you would h
adjustment).

This is the beginning of a

software. If you follow th
ways to

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Inexpensive Light Table Using Flash Units:

I mentioned that some photographers partially light the objects from the bottom. This pa
with a relatively inexpensive flash. This one uses an even less expensive setup.

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Inexpensive Light Table Using CFLs:

The previous light tables use flash units for lighting. This one uses constant lighting supp
Compact Fluorescent Lamps.

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Shooting on a Glass Stage:

Sometimes, you want a background that's a little different. You can use a piece of plate g
colored material to produce some reasonably nice looking backgrounds. Here are a few p
backgrounds.

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Building a Mini-Studio:
If you want to photograph objects slightly larger than those we've previously discussed,

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Photographing Electronic Equipment:

This page may help you if you're trying to photograph a piece of electronic equipment wit

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Random Notes
Image Stabilization:
Many cameras are equipped with image stabilization. In most all cases, the image stabiliz
shake. At this point in time, I don't know of any IS systems that compensate for the mov

Focus Area:
When an auto-focus camera focuses for the photograph, it can use multi-point focus or s
generally take, I use spot focusing. Multi-point focusing is generally for scenes where the
(landscape vs portrait).

Manual Auto Focus:

Many times, you'll try to focus on one particular point of an object but the auto focus con
different part of the subject. For those instances, you can allow the camera to focus and
forwards or backwards until the point of interest is in sharp focus. It may take a few was
does work.

Macro Focus Rack/Rail:

When working at very high magnification, depth of field is very thin and therefore, focus
photo you desire. For specialized macro work, you can use a focus rack. It mounts on a
the rack) and allows very precise movement towards and away from the subject. Some e
adjustment.

Heat Produced by Flash:

It's important that you never allow anything to be in contact with the lens of the flash wh
experience, it's possible to permanently scar the lens as the contaminant burns (when th

Chromatic Aberration:
Chromatic Aberration is seen as colored fringing in an image. It typically occurs near the
most obvious where light objects meet dark objects. If you visited the section of the site
images from various lenses, you should remember that one lens had particularly poor foc
plagued with CA. This is the thumbnail from the photo. Even in this small image you can
is what it should look like.

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NEW!
Photographing Live Insects:
This page may help you if you're trying to photograph insects in a controlled environmen
so if you care to provide feedback, please email me.

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Sample Images
Amphibians and Reptiles
Aphids
Milkweed Assassin Bugs
Fire Ants
Flies
Mosquitos
Aedes Vexans - Female
Aedes Vexans - Female - Gravid
Aedes Vexans - Male
Ochlerotatus Infirmatus - Female
Culex Quinquefasciatus - Male
Culex Quinquefasciatus - Female
Psorophora Howardii - Female
Psorophora Ciliata - Female
Harvestmen (daddy long legs)
Green and Brown Lacewings (adults and larvae)
Leaf-Footed Bugs
Millipedes
Mites
Moths
Spiders
Garden Spiders
Jumping Spiders
Golden Silk Orb Weaver (Banana Spider)
Ghost Spiders 1
Ghost Spiders 2
Lynx Spiders
Sheet-web Weavers
Hacklemesh Weavers
Wolf Spiders
Springtails
Stink Bugs
NEW - Yellow Jackets
Old Web Site #1
Old Web Site #2

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Notes:

I am not a professional entomologist/arachnologist. If there are mistakes in the iden

in the information provided, I would greatly appreciate it if you would email me to le
I'm not a professional photographer. If you have suggestions that will help me to im
me.
You are free to use the images on this site for non-profit, educational purposes. If y
commercial projects, please contact me.
Virtually all identification of the individuals on this site were obtained from the BugG
that's maintained and staffed by volunteers. They do a great job.
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If you're interested in electro
be interested in my car audio
and covers virtually everythin

If you are having trouble usin

Basic Computer Operation si

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