Recently, I took on the challenge to sprout my own mung beans. You might be wondering why or when to use these beans; well, I put them on top on our bowls and salads. Like other sprouts in the grocery store (ex: alfalfa, broccoli), mung beans are easy to sprout. The steps below take you through sprouting your own beans.
Purchase mung beans. I purchased beans in bulk from our local health food store.
Find a jar with a screen or cheesecloth top. A pint canning jar works great and I use a small piece of screen then screw on the top without a lid.
Next, fill the jar ¼ full of beans.
Soak the mung beans overnight.
Drain the beans and from here on out, rinse the beans twice a day draining all standing water. Within a day or two you will see sprouts!
Mung beans are high in vitamins, minerals, protein, and fiber and sprouted – they have more antioxidants and amino acids. (https://www.healthline.com) Eat them quickly or they may turn into full plants. When that happened to mine, I ate them anyway.
Lastly, for the photographers, I used my Olympus 60mm macro lens, window light, and a piece of black plexi glass. This is a single image (not focus stacked).
Every spring we remove those pesky dandelions from our yard. This year, before the weed & feed came out, I picked a dandelion to photograph.
As a child, I enjoyed blowing the dandelion seeds everywhere, not grasping why it upset my parents. As an adult, when I look at a dandelion, I imagine myself wandering through those tiny seed pods; maybe it comes from reading The Borrower’s or Dr. Suess’s, Horton Hears a Who. So, I spent a few days photographing dandelions from my yard and I thought I would share my process with you.
I started with a perfect, fluffy dandelion. But the image was busy and I struggled seeing into the seed pods, so I removed some of the seeds to gain a better vantage point. Using my macro lens, tripod and a Raynox DCR250 close up lens, I captured the above image at approximately 2.5x magnification. The off camera flash units were at 1/64 power with diffusion (copy paper). At this magnification, I chose to focus stack so that the closest seed pod would be in focus.
Next, I moved in closer keeping my exposure and flash settings the same. By adding extension tubes to the macro and Raynox lenses, I isolated an individual seed pod achieving almost 4x magnification. When using the Raynox, I use a plastic container on the end of my lens to diffuse the flashes. Anyone that has taken our Arizona Highways PhotoScapes Super Macro workshop (ahps.org) has used this diffusion technique. For these next images, I included my super macro setup and the single seed pod image.
Then, I continued to play with the dandelion seeds, pulling some away to reveal less seed pods drawing me to different compositions. The colored paper background added variety and I chose to capture single images with varying depths of field.
While setting up the next shot, I added a continuous light to the background and loved the silhouetted dandelion. So, I turned off my flashes and captured silhouettes with and without extension tubes. Much to my surprise, I found a bug crawling around in the dandelion. It took a lot of twisting and positioning in front of my lens, but I finally captured the bug in the seeds. The final bug image expressed my original intent – as if I was that bug within the dandelion.
So, if you are looking for a project, find something simple around your house and keep “working the subject” by changing settings, lighting, backgrounds, etc until you achieve what you want. These images were captured over the course of three days. When I take on new projects, I like to review, reflect, and then reshoot several times. Regardless, have fun and I hope you enjoyed reading about my process.
Paper – check; off-camera flash – check; flash gels – check; macro lens – check. Grab those supplies and you are ready to capture abstract art. My YouTube video isn’t ready yet, but I couldn’t wait to show you how to capture these images.
Let me take you step-by-step through capturing these images:
Grab white computer paper and roll or curl it to a desired shape, then either staple or paper clip it so the shape holds in place.
Place two off camera flashes facing each other pointing toward the paper (see image). A good starting point to the flash power is 1/32.
Add a gel to each flash. I used a red and a blue.
Set your camera on a tripod and focus on the front edge of the paper. I used Manual exposure, 1/60 sec, f/5.6 to f/10 and ISO 200.
Take a photo.
Review your image checking the histogram and composition. Adjust camera settings as needed.
Now, modify your shape or change gel colors. The images below represent some of these changes.
Image A: For this image, placed one flash with blue gel on the background (wall) and a green felled flash on the paper. Olympus OMD1 Mark III, 60 mm macro, 1/60 sec, F/10, ISO 200, 2 off-camera flash.
Image B: This image uses an orange gelled flash from the left and a purple gelled flash on the right. I added small curls of paper in my loops to create different shapes. Olympus OMD1 Mark III, 60 mm macro, 1/60 sec, F/10, ISO 200, 2 off-camera flash.
Image C: Here is the looped paper and added curls to create image B.
Gels are transparent colored material placed on the flash unit. Purchase them where you purchase lighting equipment. If you find the Rosco Swatchbook in stock – buy it! The swatchbook gels are sized perfectly for flash units and includes a variety of colors.
Spring Break started with the announcement of a pandemic and the cancellation of, well, everything. What was a week of photography, workshops, and relaxation became stressful, instantly. My husband saw my stress and suggested a road trip through Oak Creek Canyon to Slide Rock State Park. Water in nature always calms me and the brisk March afternoon meant we had the place to ourselves.
We hiked down to the creek noticing a waterfall we didn’t remember on our last visit in October. Since it was a cloudy afternoon, I used the Singh-Ray Bryan Hansel Waterfall Polarizer to blur the water. Next, we found moss under the bridge too. The contrasting textures from the exposed tree root and bright green moss drew me in. Therefore, it was time for the macro lens. After several different compositions, I used the 60 mm macro lens for a close-up image instead of capturing a 1:1 macro image.
Next, we walked down the west side of the creek and I noticed the ripples in the water. When photographing patterns like these, it takes me a few attempts to find the right shutter speed. Let me take you through my process. In the images below, number one is with a shutter speed of 1/30 sec., just slow enough to look blurry. Image number two used a shutter speed of 1/3 sec. creating an abstract image about the ripples. That was what I wanted: the right shutter speed to tell my story. Lastly, I adjusted the composition. Image number three used a shutter speed of .4 sec. and the blurred water ripples lead the eye through the frame.
Our short trip to Slide Rock State Park was a success. I walked away with a two photos I loved and two more that I really enjoy. That’s a successful shoot to me and to think the day started out stressful.
A clean background can make or break an image. While walking near a waterfall outside of Ouray, CO, I spotted a Richardson’s Geranium with buds just beginning to open. So, I set up my tripod and grabbed my macro lens. After capturing the image on the left with the natural green background, I placed my diffuser behind the bud to block the wind. Then I noticed I could capture an image with a white background as well. Both backgrounds are clean and simple, but express the buds differently.
The image on the left has noticeable backlight on the buds but the image on the right highlights the red balls on the hair of the stem. Which do you prefer? The Olympus OM-D EM-1 Mark II, 60mm macro lens and settings: Left image: f/4.5, 1/180 sec, ISO 1600. Right image: f/4.5, 1/60 sec, ISO 1600 (notice the faster shutter speed due to the white background.)
It is an amazing wildflower season in Arizona this spring. These five tips will improve your success in capturing macro wildflower images.
Light. Great photos have great light. Arrive at your destination before the sun comes up to catch the soft light. Scout the day before so you know where the great flowers are located otherwise you might miss the great light.
Tripod & shutter release. Use a tripod and shutter release to avoid camera shake. Macro photography requires sharp focus and the slightest movement from no tripod or pressing the shutter can result in a blurred image. If you don’t have a shutter release, place the camera on a 2-second timer to avoid touching the camera during the exposure.
Blur the background. Open your aperture as much as your lens will allow (f/2.8 – f/5.6) to blur the background. Long focal length lenses (100+mm) have a similar effect. If you don’t own a macro lens then use the longest focal length lens you own and capture a “close-up” image. See the samples below.
Diffuse the light. So, you like to sleep in and won’t photograph flowers until daylight. Then, take a diffuser or scrim (basically a sheet on a frame). Place the diffusion material between the sun and the flower to soften the light. See the samples below.
Have fun. If all this is too much for you, then go straight to step 5! After all, it is about being out in nature and having fun.
I hope you make use of these macro wildflower tips and enjoy this amazing season! It will be gone before we know it.
Photoshop is not for every image, but I like to use it for
compositing and making an impact. I decided to create a composite to celebrate
Valentine’s Day. Using my Cognisys StopShot Water Drip Kit, I captured several
drops and drop collisions. After reviewing the images, I noticed two that if
combined would make a fun composite. Since, viewers commented that it looks
like the character, “Tigger”.
Setting the camera on a tripod (a must with water drop collisions)
gave me several almost identical images, the only difference was in the actual
drops. To create the composite, I would need to utilized layers in Photoshop.
The “Tigger” image was my base image. Then I selected the “tail” from the second
image and brought the tail layer over to my base. Once the “tail” was in place,
I added a mask to erase the part I didn’t need to create a believable Tigger
tail. The final composite included two images and you may notice that I also
erased a few of the extra water drops. The spot healing brush is an easy tool
and blended the area nicely. This took me less than thirty minutes and I have fun
On the next image, I envisioned a drop in the shape of a
heart. Well, that would never happen naturally, so I used Photoshop’s transform
Tool to create the heart. First step was to cutout the heart onto its own
layer. Then use transform (Ctrl +T, Cmd +T) to select it. With the transform
tool active, a right click will offer additional transforming options and I
chose warp. After dragging the sizing handles around, I designed a heart. The
last step was to blend this with the original drop. Again, I added a mask to
erase the top portion of the original drop and positioned the new heart shape
to blend properly.
Photoshop isn’t for everyone or every image, but it is fun
After my past workshop at Watson Lake, Prescott, Arizona, a participant asked me to explain the Olympus focus stacking process in a macro setting. Since I use the focus bracketing modes almost daily in my macro photos, it made sense. So, follow along to explore capturing focus bracketed images using an Olympus OMD1 Mark II.
First, Olympus offers two different focus bracketing modes –
focus stacking and focus bracketing. Focus
stacking is a capture of eight images at different focus depths stacked
into one JPG within the camera. The original RAW images write to the memory
card as well as the finished JPG stack. Focus
Bracketing is a capture of up to 999 images at different focus depths and
all RAW images write to the memory card for the photographer to stack using
other stacking software (Helicon, PhotoShop, etc). This article discusses focus
bracketing mode specifically. However, the focus stacking mode is almost
With your camera on a tripod and a lens capable of focus stacking (Olympus 60mm, 12-100mm, etc) frame your shot. I prefer the 60mm and place it as close to the subject as possible. Next, toggle the 1:1 switch on the side of the macro lens and position the camera/tripod to achieve focus. Now, switch to manual focus and focus back and forth to find the part of the image that is closest to the lens. With live view and zooming, manually focus the nearest part of the image.
Now you are ready to activate the focus bracketing function. Using the menu, locate Camera 2> bracketing >on >focus bkt >on. At this point, you are given a choice between focus stacking or focus bracketing. With the focus stacking option set to off, set the number of shots and focus differential for focus bracketing. (With focus stacking ON, these other options are grayed out). In the images below, I demonstrate the difference of a focus stacked image (left) and a single image (right).
Number of shots: I am often asked how to decide the number of images to capture in a stack. That is hard to describe. The more intricate and larger depth of field requires more images. Generally, I start with 50. If there are more than I need meaning some are out of focus because it went beyond my subject, I don’t use those images in post-processing.
Differential: The differential is the distance between each bracketed image and more complicated to calculate. I tend to use a small differential of 1-2 with my macro lens and extension tubes. With more practice you will see different results and learn to adjust according to your subject.
With focus bracketing activated, press the shutter using a cable release. A cable release is crucial to avoid camera movement from pressing the shutter with a finger. The camera captures the images using Silent sequential high-speed shutter and they are viewable on my LCD screen at the same time. If I watch closely, I can see the focus move from the front to the back of the frame. It really is that easy! Now, it is all up to post-processing. My preference is using Helicon Focus, but PhotoShop and other software can stack images as well.
View my camera setup in the video to the left. Notice the camera is upside down on the tripod to achieve the lowest perspective.
If you create more than one stack, you will want to capture
a random photo in between each stack. For example, I take a photo of my hand in
between each stack. Then when I download, I know where each stack starts and
For the past two months I’ve captured studio images of liquids or liquid art. Instead of water drop collisions (I will do more soon) capturing macro images of paint, oil and milk are my new passion thanks to Jason Cummings. Jason shared his setup with me and I couldn’t wait to make it my own. Changing the liquid quantities and thicknesses create very diverse images. The above image followed the steps in this article and the gear used for this project is in the image to the right: two off-camera flash units with diffusers, shutter release cable, macro lens, extension tubes, plastic table cloth, solo cups, paint and a disposable plate. Not pictured: camera and tripod.
Make your own masterpiece
Step One: Water down acrylic paint. Using a disposable cup, water down cheap acrylic paint. The thicker the paint, the longer the paint balls stay intact.
Step Two: Pour milk, half and half, cream, etc into a water resistant or water proof plate/bowl. I prefer using disposable plates or Petri dishes.
Step Three: Pour oil in a new cup and add drops of paint. Use all the colors you want in your image.
Step Four: Pour oil and paint into milk substance. Pour fast, pour slow, make circles/squares, etc; these differences in technique add to the individuality of the final image.
Step Five: Capture images. When setting up your gear, be sure that the macro lens is parallel to the plate of liquid. I use a toothpick on the surface of the liquid to pre-focus. After pouring, I manual focus in live view, at 3x enlargement or more, to fine tune focus. Snap the shutter and rotate the plate for different compositions. The liquid will move on its own as the oil, milk and paint interact. If you have paint “balls” they will burst at some point, so shoot fast. Since the liquid mixture is moving, I recommend using a flash or other strong light source to create sharp images at a fast shutter speed. Here are a few examples from different paint colors. Give it a try, it is a lot of fun.