having fun with flower macros

I have an avowed lackadaisical disinterest with flower macros. I’ve seen simply too many sensational flower macros in flickr that I don’t think I can add more to this colorful form of entertainment. On occasions though, when I am idle and when other photographic subjects are not available, I give in.


a kamboja (frangipani) macro in Sukawati, Gianyar, Bali, Indonesia
Canon EOS 350D Digital, 1/200s, f/2.8, 100mm, ISO 400, -1.0EV


As I would find out, macros, even when using the dedicated 100mm f2.8 macro lens, presented special challenges.

Composition. To remove extraneous elements which are distracting, I filled the frame entirely with the flower. Natural colors cannot be beat anyway and the hues of the flowers could be without comparison. I focused on an interesting point, say the pistil of a bougainvillea, the inner heart of the frangipani, or the petal edges of the gerbera, and had them swim in one singular color. I also flushed the focal points off-center to ensure more dynamic interest as a full central symmetry could be too static.


a bougainvillea macro in Selong, Lombok Timur, Indonesia
Canon EOS 350D Digital, 1/80s, f/2.8, 100mm, ISO 100, -1/3EV


Exposure . In this age of digital photography, the exposure of a photograph can be calibrated countlessly and in real time. I chimped a lot, which meant that I checked the output in the LCD of my camera immediately after taking the shots and did the adjustments thereafter. What I found out was that sometimes I had to underexpose the shot by several stops to get the right amount of light.

As in most of photography, daylight is your best friend. I could not shoot with a flash anyway as I often leave my Speedlite 380x behind when I travel. There is one indoor macro here though – the mum macro in Jakarta – and I had to jack up ISO to 1600. I was not about to setup my tripod inside the restaurant where I was having breakfast.


gerbera macro in Jakarta, Jawa Barat, Indonesia
Canon EOS 350D Digital, 1/60s, f/2.8, 100mm, ISO 1600


Manual focus. The macro lens has a pinpoint plane of focus and beyond this plane, the foreground and the background come to a blur. Autofocus then becomes a problem as the lens had trouble delineating sufficient contrast. I had to go full manual. To select accurately the focal point that I wanted, I had to move towards or away from the subject. This to me is the greatest challenge.


adenium macro in Pantai Mengiat, Nusa Dua, Bali, Indonesia
Canon EOS 350D Digital, 1/500s, f/2.8, 100mm, ISO 100


Although I still don’t find flower macros a photographic pursuit of my choosing, I have to confess that the pictures come out appealing, especially with the collage of the four macros. A final homage to the visual power of flowers I say. T’was definitely fun, if I may complete the verbal pun.


a collage of the macros presented below using picasa3

Macro studies of Balinese art

I really should quit being lazy and use my macro lens more. A few months ago I ordered a 100mm f2.8 macro lens from b&h online and had my sister mail it to Cebu. It was specifically to photograph my daughter Cacing. A good buy I say. Nowadays, whenever I travel, I bring it with me but always, I use it mostly for portraiture or as an all around lens.

Seldom have I used it for real 1:1 macro shots that it was designed for. Not a lot of bokeh shots I confess. I have never been a flower person anyway. I just could not drum up enough enthusiasm to experiment on nature shots.

Anyway, one early August morning, and I think it was the day I left Bali, I found myself running out of stuff to shoot. I was in my hotel, the popular Nikko Bali Resort and Spa, and the sunrise bailed out once more on me. Weather was plain downcast. Right then and there, I decided I might as well try macros as the hotel was full of Balinese objets d’art. I had my tripod with me and I was not shy setting it up in the most incongruous of places- the lobby, the elevator landing, the gallery.

For subjects, I chose a Balinese doll, a banten decoration made from dried leaves and wood shavings, a wood carving of Rama and Sita, a traditional painting and a stone relief. Notes are provided.


Canon EOS 350D Digital, 1/2s, f/2.8, 100mm, ISO 100, +1/3EV
a doll at Nikko Bali Resort and Spa, Nusa Dua, Bali, Indonesia
phototip: Against a strong backlight which can blow up the details, use the proper exposure compensation.



Canon EOS 350D Digital, 1/15s, f/2.8, 100mm, ISO 100, -1.0EV
a doll at Nikko Bali Resort and Spa, Nusa Dua, Bali, Indonesia
phototip: Better still, if it is possible, turn the subject toward the light. A little turn changed the lighting dynamics and allows the details of the face to come out.



Canon EOS 350D Digital, 1/13s, f/2.8, 100mm, ISO 100, -1.0EV
a banten decor at Nikko Bali Resort and Spa, Nusa Dua, Bali, Indonesia
phototip: Focus on a point that is off center to provide better visual dynamic appeal.



Canon EOS 350D Digital, 1/6s, f/2.8, 100mm, ISO 100, -1.0EV
wood carving of Rama and Sita at Nikko Bali Resort and Spa, Nusa Dua, Bali, Indonesia
phototip: I set off Sita’s soft features against the masculine profile of Rama for high contrast.



Canon EOS 350D Digital, 1/4s, f/2.8, 100mm, ISO 100, -1/3EV
part of a painting signed by I Kt Kerus, Nikko Bali Resort and Spa, Nusa Dua, Bali, Indonesia
phototip: Keep the plane of field parallel with the canvas when shooting flat surfaces.



Canon EOS 350D Digital, 1/60s, f/2.8, 100mm, ISO 100
black sandstone relief, Nusa Dua, Bali, Indonesia
phototip: In shooting faces, keep the focus on the eyes.