![\"Mikael-Buck-macro-common-woodlouse\"](\"\/wp-content\/uploads\/2016\/01\/Mikael-Buck-macro-common-woodlouse.jpg\")
\nThe set-up<\/h2>\n\t\t\n\t\t\t![\"Mikael-Buck-macro-set-up\"](\"\/wp-content\/uploads\/2016\/01\/Mikael-Buck-macro-set-up.jpg\")
\t\t\tA mock-up of camera and flash positioning<\/p>\n\t\t<\/div>\n\t\t\n
What\u2019s important to keep in mind is that your composition and exposure for every image in the series need to be consistent, so when you come to post-production the software will seamlessly create the final image. To achieve this, you need to make sure you take care to set things up properly.<\/p>\n
You\u2019ll need a spacious work area, where no one will disturb your equipment, and you\u2019ll need space to move around without accidentally hitting anything. At the very least, you\u2019ll want a heavy tripod and a sturdy table that won\u2019t move. I highly recommend using a geared tripod head that allows you to make small and accurate adjustments to the camera position, as this will save you time when it comes to composition. Tape everything you can down: I stress-test my kit set-up before I begin, so if I do knock something I know everything will stay in place. To achieve the incredible close focusing, you\u2019ll want to use a series of extension tubes to sit between your lens and camera. These can be picked up reasonably cheaply, while a simple 50mm prime is a good starting point as your lens.<\/p>\n
Composition<\/h2>\n
Good composition can be the difference between the image being just a scientific record and something wholly more engaging and more aesthetically pleasing.<\/p>\n
For insects, use low angles looking up at the subject and it will appear more dynamic. Think about how the frame will be read. The eyes and mouths of insects are fantastic focal points, but claws, mandibles and hair can all be used as powerful reference points.<\/p>\n
When setting up the shot, leave as much space as possible around the subject. Be aware that you\u2019ll need to use quite a heavy crop on the images because the extension tubes will protrude into your frame.<\/p>\n
You\u2019ll find that stitching may adjust your crop as well, so the more room you leave yourself, the more flexibility you\u2019ll have to create a pleasing final composition. This is where a camera with a large megapixel count, like my 42.4-million-pixel Sony Alpha 7R II, comes in handy.<\/p>\n
Technique<\/h2>\n\t\t\n\t\t\t![\"Mikael-Buck-macro-green-lacewing\"](\"\/wp-content\/uploads\/2016\/01\/Mikael-Buck-macro-green-lacewing.jpg\")
\t\t\tA micro-adjustment plate will allow you to adjust focus precisely<\/p>\n\t\t<\/div>\n\t\t\n
Consistency is key. The aim of stacking is to create a series of almost identical images, where you move the focus in tiny increments across the image to give you enough material to stitch together in the computer to achieve enough depth of field in your image. Do this by moving the camera a tiny amount either towards or away from the subject using a micro-adjustment plate. Manually adjusting focus in small enough increments using the focus barrel on the lens is almost impossible.<\/p>\n
Set up the camera as close as possible to the subject so you can withdraw from it, rather than approach. In this way you don\u2019t have to worry about accidentally bumping into equipment, disturbing the insect and ruining the shot. Use a cable release or the timer setting on your camera to ensure there\u2019s no movement of the camera itself. Take as many images as you can, while moving as little as possible with your adjustment plate. You might not use all images for your stack, but you want to have as many options as possible. Set your exposure manually, otherwise you risk variation between frames.<\/p>\n
To get the depth of field you need it\u2019s important to use flash, as there won\u2019t be enough ambient light to shoot at a smaller aperture. Fortunately, as insects are tiny, ordinary flashguns are just right. Position lights as close to the subject as possible, using a Gorillapod or miniature tripod, and experiment. Give your lights enough time to refresh between each frame. If the lighting is inconsistent, the stitching process won\u2019t work. Keep it simple to begin with and once you are comfortable with the technique you can move on to a bit of experimentation. As with your camera settings, make sure your flash power setting is done manually.<\/p>\n
For initial attempts, take 20-30 images at f\/11 and ensure you move focus through the frame. You can then start using wider apertures and get sharper images, taking more frames as the depth of field gets smaller. Ultimately, you want to aim to use your lens\u2019s sweet spot of around f\/4-f\/5.6. This could require you take as many as 100 shots to get an image sharp across the frame.<\/p>\n
Editing<\/h2>\n
I recommend using specialised stacking software so you can focus on your images and experiment as much as possible. Helicon Focus lets you export a raw file of the finished stack. Learning the stacking software can be demanding, so don\u2019t be discouraged if your initial results aren\u2019t as great as you\u2019d hoped. The radius and smoothing settings required for a particular image can vary greatly, and the best setting can often only be found through experimentation.
\nOver time, though, you\u2019ll develop a knack for it.<\/p>\n
Why it works<\/h2>\n![\"Mikael-Buck-macro-house-spider\"](\"\/wp-content\/uploads\/2016\/01\/Mikael-Buck-macro-house-spider.jpg\")
\n
When you are creating imagery using stacking, it can sometimes be very tempting to forget about aesthetics, and just tie up 500 images to achieve perfect sharpness.<\/p>\n
While this method can be impressive, it\u2019s often not the best way to create really arresting shots. Ultimately, you shouldn\u2019t forget that it\u2019s the capturing of a story in images that works really well. In this shot of the common house spider, I chose to keep the focus heavily on the eyes and fans to really bring out the spider\u2019s dynamism and vitality \u2013 this shot was a stack of just two frames.<\/p>\n
Your eye needs a way through the frame. Think about how you would shoot a person, a larger animal or a car, and then apply the same process to your macro photography.<\/p>\n
The lighting set-up<\/h2>\n![\"Mikael-Buck-macro-seven-spot-ladybird\"](\"\/wp-content\/uploads\/2016\/01\/Mikael-Buck-macro-seven-spot-ladybird.jpg\")
\n
The set-up for this shot of a ladybird was quite straightforward, with the choice of background used being key. The strong colour and textures worked really well against the subject. Two remotely triggered flashguns were used \u2013 one gelled and the other firing through white card to soften the key light. Finally, a sheet of white card was positioned to the left of the camera to reflect light back into the shadows.<\/p>\n![\"Macro-lighting-set-up\"](\"\/wp-content\/uploads\/2016\/01\/Macro-lighting-set-up.jpg\")
\n
Top Tips<\/h2>\nExperiment with background<\/h3>\n
As you get more familiar with the stacking technique, you can try using coloured gels or card to really bring your images to life with interesting light and background.<\/p>\n
Use a dedicated stacking program<\/h3>\n
A specialised program like Helicon Focus lets you stitch together raw files, so you have plenty of flexibility when it comes to post-processing. Experiment with your stitches using JPEGs before applying it to raw files.<\/p>\n\t\t
\t\t\tA mock-up of camera and flash positioning<\/p>\n\t\t<\/div>\n\t\t\n
What\u2019s important to keep in mind is that your composition and exposure for every image in the series need to be consistent, so when you come to post-production the software will seamlessly create the final image. To achieve this, you need to make sure you take care to set things up properly.<\/p>\n
You\u2019ll need a spacious work area, where no one will disturb your equipment, and you\u2019ll need space to move around without accidentally hitting anything. At the very least, you\u2019ll want a heavy tripod and a sturdy table that won\u2019t move. I highly recommend using a geared tripod head that allows you to make small and accurate adjustments to the camera position, as this will save you time when it comes to composition. Tape everything you can down: I stress-test my kit set-up before I begin, so if I do knock something I know everything will stay in place. To achieve the incredible close focusing, you\u2019ll want to use a series of extension tubes to sit between your lens and camera. These can be picked up reasonably cheaply, while a simple 50mm prime is a good starting point as your lens.<\/p>\n
Composition<\/h2>\n
Good composition can be the difference between the image being just a scientific record and something wholly more engaging and more aesthetically pleasing.<\/p>\n
For insects, use low angles looking up at the subject and it will appear more dynamic. Think about how the frame will be read. The eyes and mouths of insects are fantastic focal points, but claws, mandibles and hair can all be used as powerful reference points.<\/p>\n
When setting up the shot, leave as much space as possible around the subject. Be aware that you\u2019ll need to use quite a heavy crop on the images because the extension tubes will protrude into your frame.<\/p>\n
You\u2019ll find that stitching may adjust your crop as well, so the more room you leave yourself, the more flexibility you\u2019ll have to create a pleasing final composition. This is where a camera with a large megapixel count, like my 42.4-million-pixel Sony Alpha 7R II, comes in handy.<\/p>\n
Technique<\/h2>\n\t\t\n\t\t\t\t\t\tA micro-adjustment plate will allow you to adjust focus precisely<\/p>\n\t\t<\/div>\n\t\t\n
Consistency is key. The aim of stacking is to create a series of almost identical images, where you move the focus in tiny increments across the image to give you enough material to stitch together in the computer to achieve enough depth of field in your image. Do this by moving the camera a tiny amount either towards or away from the subject using a micro-adjustment plate. Manually adjusting focus in small enough increments using the focus barrel on the lens is almost impossible.<\/p>\n
Set up the camera as close as possible to the subject so you can withdraw from it, rather than approach. In this way you don\u2019t have to worry about accidentally bumping into equipment, disturbing the insect and ruining the shot. Use a cable release or the timer setting on your camera to ensure there\u2019s no movement of the camera itself. Take as many images as you can, while moving as little as possible with your adjustment plate. You might not use all images for your stack, but you want to have as many options as possible. Set your exposure manually, otherwise you risk variation between frames.<\/p>\n
To get the depth of field you need it\u2019s important to use flash, as there won\u2019t be enough ambient light to shoot at a smaller aperture. Fortunately, as insects are tiny, ordinary flashguns are just right. Position lights as close to the subject as possible, using a Gorillapod or miniature tripod, and experiment. Give your lights enough time to refresh between each frame. If the lighting is inconsistent, the stitching process won\u2019t work. Keep it simple to begin with and once you are comfortable with the technique you can move on to a bit of experimentation. As with your camera settings, make sure your flash power setting is done manually.<\/p>\n
For initial attempts, take 20-30 images at f\/11 and ensure you move focus through the frame. You can then start using wider apertures and get sharper images, taking more frames as the depth of field gets smaller. Ultimately, you want to aim to use your lens\u2019s sweet spot of around f\/4-f\/5.6. This could require you take as many as 100 shots to get an image sharp across the frame.<\/p>\n
Editing<\/h2>\n
I recommend using specialised stacking software so you can focus on your images and experiment as much as possible. Helicon Focus lets you export a raw file of the finished stack. Learning the stacking software can be demanding, so don\u2019t be discouraged if your initial results aren\u2019t as great as you\u2019d hoped. The radius and smoothing settings required for a particular image can vary greatly, and the best setting can often only be found through experimentation.
\nOver time, though, you\u2019ll develop a knack for it.<\/p>\n
Why it works<\/h2>\n\n
When you are creating imagery using stacking, it can sometimes be very tempting to forget about aesthetics, and just tie up 500 images to achieve perfect sharpness.<\/p>\n
While this method can be impressive, it\u2019s often not the best way to create really arresting shots. Ultimately, you shouldn\u2019t forget that it\u2019s the capturing of a story in images that works really well. In this shot of the common house spider, I chose to keep the focus heavily on the eyes and fans to really bring out the spider\u2019s dynamism and vitality \u2013 this shot was a stack of just two frames.<\/p>\n
Your eye needs a way through the frame. Think about how you would shoot a person, a larger animal or a car, and then apply the same process to your macro photography.<\/p>\n
The lighting set-up<\/h2>\n\n
The set-up for this shot of a ladybird was quite straightforward, with the choice of background used being key. The strong colour and textures worked really well against the subject. Two remotely triggered flashguns were used \u2013 one gelled and the other firing through white card to soften the key light. Finally, a sheet of white card was positioned to the left of the camera to reflect light back into the shadows.<\/p>\n\n
Top Tips<\/h2>\nExperiment with background<\/h3>\n
As you get more familiar with the stacking technique, you can try using coloured gels or card to really bring your images to life with interesting light and background.<\/p>\n
Use a dedicated stacking program<\/h3>\n
A specialised program like Helicon Focus lets you stitch together raw files, so you have plenty of flexibility when it comes to post-processing. Experiment with your stitches using JPEGs before applying it to raw files.<\/p>\n\t\t
\t\t\tA micro-adjustment plate will allow you to adjust focus precisely<\/p>\n\t\t<\/div>\n\t\t\n
Consistency is key. The aim of stacking is to create a series of almost identical images, where you move the focus in tiny increments across the image to give you enough material to stitch together in the computer to achieve enough depth of field in your image. Do this by moving the camera a tiny amount either towards or away from the subject using a micro-adjustment plate. Manually adjusting focus in small enough increments using the focus barrel on the lens is almost impossible.<\/p>\n
Set up the camera as close as possible to the subject so you can withdraw from it, rather than approach. In this way you don\u2019t have to worry about accidentally bumping into equipment, disturbing the insect and ruining the shot. Use a cable release or the timer setting on your camera to ensure there\u2019s no movement of the camera itself. Take as many images as you can, while moving as little as possible with your adjustment plate. You might not use all images for your stack, but you want to have as many options as possible. Set your exposure manually, otherwise you risk variation between frames.<\/p>\n
To get the depth of field you need it\u2019s important to use flash, as there won\u2019t be enough ambient light to shoot at a smaller aperture. Fortunately, as insects are tiny, ordinary flashguns are just right. Position lights as close to the subject as possible, using a Gorillapod or miniature tripod, and experiment. Give your lights enough time to refresh between each frame. If the lighting is inconsistent, the stitching process won\u2019t work. Keep it simple to begin with and once you are comfortable with the technique you can move on to a bit of experimentation. As with your camera settings, make sure your flash power setting is done manually.<\/p>\n
For initial attempts, take 20-30 images at f\/11 and ensure you move focus through the frame. You can then start using wider apertures and get sharper images, taking more frames as the depth of field gets smaller. Ultimately, you want to aim to use your lens\u2019s sweet spot of around f\/4-f\/5.6. This could require you take as many as 100 shots to get an image sharp across the frame.<\/p>\n
Editing<\/h2>\n
I recommend using specialised stacking software so you can focus on your images and experiment as much as possible. Helicon Focus lets you export a raw file of the finished stack. Learning the stacking software can be demanding, so don\u2019t be discouraged if your initial results aren\u2019t as great as you\u2019d hoped. The radius and smoothing settings required for a particular image can vary greatly, and the best setting can often only be found through experimentation.
\nOver time, though, you\u2019ll develop a knack for it.<\/p>\n
Why it works<\/h2>\n\n
When you are creating imagery using stacking, it can sometimes be very tempting to forget about aesthetics, and just tie up 500 images to achieve perfect sharpness.<\/p>\n
While this method can be impressive, it\u2019s often not the best way to create really arresting shots. Ultimately, you shouldn\u2019t forget that it\u2019s the capturing of a story in images that works really well. In this shot of the common house spider, I chose to keep the focus heavily on the eyes and fans to really bring out the spider\u2019s dynamism and vitality \u2013 this shot was a stack of just two frames.<\/p>\n
Your eye needs a way through the frame. Think about how you would shoot a person, a larger animal or a car, and then apply the same process to your macro photography.<\/p>\n
The lighting set-up<\/h2>\n\n
The set-up for this shot of a ladybird was quite straightforward, with the choice of background used being key. The strong colour and textures worked really well against the subject. Two remotely triggered flashguns were used \u2013 one gelled and the other firing through white card to soften the key light. Finally, a sheet of white card was positioned to the left of the camera to reflect light back into the shadows.<\/p>\n\n
Top Tips<\/h2>\nExperiment with background<\/h3>\n
As you get more familiar with the stacking technique, you can try using coloured gels or card to really bring your images to life with interesting light and background.<\/p>\n
Use a dedicated stacking program<\/h3>\n
A specialised program like Helicon Focus lets you stitch together raw files, so you have plenty of flexibility when it comes to post-processing. Experiment with your stitches using JPEGs before applying it to raw files.<\/p>\n\t\t
![\"Mikael-Buck-macro-European-Earwig\"](\"\/wp-content\/uploads\/2016\/01\/Mikael-Buck-macro-European-Earwig.jpg\")
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