Tag Archives: insect photography

Arachnid Aesthetics – Christian Brockes

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Christian Brockes’ fascination with arthropods started out as a chance encounter with one in his bathroom. Since then, he has documented many more species over the years, earning acclaim, partnerships, and an ambassadorship, for being a leading voice in macro photography as well as his creative expertise. Asian Photography had a conversation with him about techniques, patience, and purpose behind their highly stylised documentation of insect life. Excerpts:

Do you remember the first macro image you ever shot? What was it?

I started out doing portraits and business photos and had a 90mm macro lens, which I only used for its portrait capabilities. After finding a tiny jumping spider in my bathroom, I decided to use the macro lens for what it was originally intended for and was instantly fascinated by the interesting detail I was able to see in the photo – details which were hidden from the naked eye.

It sparked my interest and started my journey into the tiny world – always looking for new colours, forms, and textures.

What’s something people often misunderstand about macro photography?

To me, macro photography is like a window into that tiny world beneath our feet, which is generally and often overlooked. It is also a very powerful tool for conservation and to create attention to the world’s fascinating biodiversity.

However, macro photography is often featured less prominently in comparison to wildlife photography of bigger animals. People simply seem not to be aware of the wonderful things that are there to discover in and share from the tiny world.

Many people understand macro as only being photography at 1:1 magnification and above, but forget that also at these high magnifications there are stories to tell. Storytelling and composition can elevate macro photography even further.

Do you approach your photography more as documentation, art, or exploration?

Nowadays, I would like my macro photography to be seen as a mixture of stylised documentation. While I always emphasise on composition and also try to create a direct connection between the subject and the viewer, the thing I look for the most is the story: this can be a distinct behaviour of an insect, a hunting scene, mating, or any other interaction.

It is my wish to share my findings to create awareness and interest through these fascinating forms, colours, and features of the insects and spiders I photograph – hopefully leading to respect, which ultimately helps with conservation.

How do you balance patience and spontaneity when working with unpredictable subjects?

The trick is indeed to actually balance both: patience often rewards us with wonderful opportunities and scenes – but these happen spontaneously, so it is very important to be alert, have your setup ready and be able to control your camera blindly, when the moment comes.

I have one routine, where I stay at a promising spot for about an hour. Sometimes it is only 1 or 2 square metres. I adapted my photographic technique to align with this behaviour: I always use a flash and a diffuser, which gives me a highly mobile and compact setup and enables tack-sharp shots even during movements.

How do you see the future of macro evolving—AI, computational focus, mobile macro?

I think mobile macro is the way to go, but not necessarily with mobile phones. Smaller, real cameras, capable of reaching high magnifications while providing decent depth-of-field, would open up the field to many more people.

The Pink flower crab spider Thomisus onustus is a truly fascinating spider as it can change its color, trying to match the flowers it sits on and where it waits for prey. It can change from a plain white form to a plain yellow form and to its most spectacular pink form with stripes, which can be seen here.

The latest generation of mobile phone flagships have remarkable macro features. I use mine from time to time and the results are better than what I captured with my first camera and macro lens.

AI is far from being able to create realistic insect and spider macros – you can spot the AI-generated images easily if you’re a biologist or a naturalist.

Computational in-camera features are a big time saver. My current camera, the OM-1 Mark II, has tons of those: ND filter, graded ND filter, High-Res Shot, modes for light painting, photographing stars, and many more.

My favourites are the focus bracketing and focus stacking modes, which allow me to create a focus bracket I later combine into one image with enhanced depth-of-field. It also speeds up my process.

What are you currently experimenting with or trying to learn next?

Right now, I am pretty satisfied with both my gear and technique when it comes to macro photography of insects and spiders at high magnifications.

I’ve recently favoured single shots over focus stacks more often, as it is all about getting that one specific moment. It also saves time during post-processing.

The next thing I am currently experimenting with is filming macro at high magnifications. Creating macro movies with the same quality as my photos is challenging, as the lighting approach is very different.

Is there a specific image that you want to be remembered by?

I have two personal favourites, which are also my best known photos from publications. One is an Acorn weevil (Curculio glandium) just about to take off and spreads its wings, and the other is a zig-zag sawfly larva that has eaten its distinct zig-zag pattern into an elm leaf.

I specialise on jumping spiders, and my two favourite species, both extremely colourful – one, Habronattus americanus, is from North America and one, Stenaelurillus lesserti, can be found in southern India – would be my personal holy grail and the ultimate macro portrait.

Capturing Floral Fascination – Kristine Zāle

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Kristine’s journey began from a father’s influence and a curious eye grew into a deep, self-taught journey into the miniature world. She specialises in capturing flowers alongside insects, capturing and excelling at an intriguing perspective in macro photography. Asian Photography spoke to her about how macro photography shaped not just her creative process, but also her perspective on nature, patience, and purpose. Excerpts:

Were you always a photographer, or did macro come after exploring other genres?

My photography journey really started thanks to my dad. He always had a camera with him, capturing our family moments, and he was the one who put my first camera in my hands. Watching how he worked with his own, much more advanced camera, inspired me to keep learning and improving.

He also helped me choose my first DSLR. I remember the first time I tried manual mode and suddenly realised how much I still had to learn. While my dad’s guidance started me on this path, most of what I know now is self-taught through years of experimenting and making mistakes.

In the beginning, I just shared my photos on social media. I never thought much of it, but as people started to give feedback and encouragement, I realised this was something I wanted to pursue more seriously. Those early steps, the learning curve, and my dad’s support really shaped who I am as a photographer.

What’s something people often misunderstand about macro photography?

A lot of people think macro is easy. They think you just get close, and the background will blur out, and you have a nice photo. But macro photography takes much more skill and patience than most realise. Patience, precision, and observation are essential, but what really matters is the willingness to keep growing and improving.

Once I joined Instagram and saw the work of other creators, it pushed me to get more creative with my own photos. Inspiration from others has always driven me to try new things and keep evolving.

One technical challenge in macro is dealing with the shallow depth of field. You get super close, thinking you’ll capture the perfect insect photo, but only a tiny part ends up sharp. I had to learn how to balance distance, settings, and composition. For example, with insects, I try to shoot them from the front or side so more of their body is in the same focal plane. The same applies to flowers. It is not just about what is in focus, but choosing which parts are sharp to create a composition that works.

Have you had any close encounters with wildlife while shooting macro?

Most of my wildlife encounters are with insects, since they are my main subjects after flowers. I usually search for them locally, especially in the botanical garden. I have been lucky to spot and photograph many species, including different kinds of bees, damselflies, dragonflies, and even a cuckoo wasp. Seeing a cuckoo wasp for the first time was a real surprise.

Insects are often skittish, so I usually take a quick photo as soon as I spot one. Sometimes that first shot is the only one I get. There have been times when that photo ended up being the one I posted. Even if the subject is small in the frame, I do not mind cropping in a lot later.

One dream encounter I still hope for is photographing a praying mantis. I do not think they live in my area, but maybe one day, I will get lucky.

What’s the most important lesson you’ve learnt from a shoot-gone-wrong?

Preparation is key. Always check the weather forecast before heading out, especially the wind. Now, I make it a habit to check conditions and have a backup plan, such as staying home and editing the photos I have already taken.

Another important lesson is to make sure your gear is ready. With my old DSLR, the battery would drain quickly, especially in cold weather. I learned the hard way by running out of power before I was finished shooting. Now, I always carry a spare battery.

That said, sometimes you have to work with what you have. On a recent walk, it was really windy, but with enough patience, I managed to get many great insect photos. Nature can be unpredictable, so adaptability and a little patience can turn a difficult shoot into a successful one.

Are there still moments when you feel like a beginner, even after years of experience?

Absolutely. Even with experience, I still have days when nothing seems to go right. Sometimes I will come home with barely any sharp photos, or enough sharp photos of which none feel special or worth sharing. That is perfectly normal. I have learned that those ups and downs are just part of the creative process.

I am always discovering new techniques, often from other creators. I used to think you could only share single photos, until I learned about focus stacking. Now, I sometimes shoot multiple images and combine them for a fully sharp subject with a beautiful background. Learning new things like this keeps me feeling inspired.

Can you describe a time you had to really “earn” the photo?

Most of my photo walks are unplanned. But the photos that feel truly earned are the ones where I put in extra effort.

One photo that stands out is a dewdrop-covered cobweb during a foggy sunrise. I had to wake up at 5 AM, which is not easy for me, and drive to a bog trail. That morning, everything came together perfectly. There was thick fog, a golden sunrise, and more sparkling cobwebs than I had ever seen. I spent a long time looking for the best-looking webs and waiting for the light to be just right. When I finally got the shot, it felt incredibly rewarding.

Has macro photography influenced how you see life, outside of photography?

Definitely. Macro photography has made me much more observant and appreciative of the little things in life. Now I notice details everywhere, like tiny flowers, insects most people walk past, even the way light hits a leaf.

Getting into macro has also changed the way I relate to nature. I used to be pretty neutral about insects, but now I am much more considerate and careful around them. I even find myself moving snails or bugs off walking paths.

It has also inspired me to share what I know with others. I started a community where I share tips and tutorials. Teaching others, seeing them inspired by my work, and watching them grow brings me a lot of joy. Macro photography has helped me connect with a community and give back in a way I never expected.