E L ANTROPOMORFISMO PERVIVE EN LA ARQUITECTURA

Natural history isn’t like other macro and close-up subjects. When photographing living things, their wellbeing should always be top priority. Photographers have a responsibility to their subject; photography should not be undertaken at the risk of damaging or distressing your subject, or consequential predation or reduced reproductive success. Handling subjects should be avoided if possible. Small animals, like insects and amphibians, are particularly delicate and easily damaged – only handle them if you are experienced at doing so. Hatching or cold, torpid insects are especially vulnerable, so be careful where you tread. Detaining and then refrigerating invertebrates in order to reduce their activity for photography is widely considered unethical practice. Good nature close-ups should be the result of your photography and fi eldcraft skills.

as fl owers in bloom will attract butterfl ies, bees and hoverfl ies. Visiting insects will rarely stay still long, though; they constantly move about and make it diffi cult to take good photos.

Position yourself close by so that when the insect lands on the fl ower, you can work quickly.

When photographing nature, subjects are rarely completely still, so expect your ratio of success to be much smaller. Remember, even the smallest movement in close-up appears greatly magnifi ed.

So don’t be afraid to take a larger series of images to guarantee at least one or two perfectly sharp, well-composed results.

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1 4 1 NATURAL-HISTORY SUBJECTS BUMBLEBEE IN FLIGHT

To encourage nature into your backyard, grow nectar-rich plants like lavender and buddleia.

Doing so will entice bees, butterfl ies and hoverfl ies.

I captured this particular shot after spending an hour or so sitting by a bed of lavender, photographing bees as they came and went.

Nikon D300, 150mm, ISO 200, 1/1250sec at f/4, handheld

THICK-LEGGED FLOWER BEETLE

Colourful garden fl owers create an ideal backdrop for insects and other small creatures. For maximum impact, fi ll the frame. An overhead angle often works well when taking photos of insects basking or feeding on fl owers. To help entice nature into your garden, don’t be too tidy and try to retain an area where wildfl owers and grass can grow.

Nikon D300, 150mm, ISO 200, 1/40sec at f/14, tripod

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SPIDERS

IN CLOSE-UP, THE PRIMITIVE, EIGHT-LEGGED SPIDER CAN BE FULLY APPRECIATED IN ALL ITS GLORY. EVERY TINY HAIR ON THE BODY AND LEGS IS REVEALED IN AMAZING CLARITY.

If you suffer from arachnophobia, you may wish to fl ick to the next page. A fear of spiders is common, but arachnids are actually very photogenic creatures. Spiders range greatly in look and size, with the largest having a leg span in the region of 1ft (30cm). Some are brightly coloured or beautifully patterned, while spiders’

webs can prove equally photogenic in close-up.

Good images of spiders will normally come either as a result of chancing upon subjects or by careful planning. Typically, it is easiest to locate and photograph web-making spiders, as the webs reveal their whereabouts. With a spider suspended in its silk web, it is normally possible to capture images from either side of the web – either capturing the markings on its back or its underneath and mouthparts.

Spiders are sensitive to the tiniest vibration;

knock the web or the foliage it is suspended from and it will likely scurry away. Stealth and care is important when getting into position, particularly if you are using a tripod. Carefully place your camera so that the sensor plane is parallel to your subject. This enables you to maximize the available depth of fi eld. If you position the camera poorly, parts of the spider’s body or legs will drift out of focus.

As always, background detail is important.

Keep it clean and simple, ensuring nothing competes with your subject for attention. When the sun is low in the sky during morning and evening, you might be able to select an angle that allows you to attractively backlight, or even silhouette (page 62), the spider against the sky or the sun. Spiders such as hunters, jumpers and weavers are often best shot from a low,

eye-level viewpoint. This type of head-on angle will highlight the spider’s impressive fangs and eyes (many spiders have eight eyes) and you can create striking portraits.

With this type of approach, it is not essential for all of the spider’s body and legs to be recorded in sharp focus; as long as the eyes are bitingly sharp, it won’t matter if the body and legs drift slightly out of focus. Since some spiders remain motionless for long periods, you could choose to focus stack (page 180) if you wish to capture an extended depth of fi eld.

RAFT SPIDER

I captured this striking image of a raft spider at eye level. When photographing spiders on the ground or on water, this viewpoint will often create the most striking and natural result. However, if the spider is contrasted against a suitably colourful or interesting backdrop, an overhead view can also work well.

Nikon D300, 150mm, ISO 400, 1/125sec at f/5, handheld

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1 4 3 NATURAL-HISTORY SUBJECTS

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