kathycollier
FollowWater drops suspended as if by magic in a lichen bed.
Water drops suspended as if by magic in a lichen bed.
Read less
Read less
Views
1142
Likes
Awards
Action Award
Top Shot Award 21
Legendary Award
Featured
Contest Finalist in A World Of Macro Photo Contest
Peer Award
Superb Composition
Absolute Masterpiece
Outstanding Creativity
Top Choice
Magnificent Capture
All Star
Superior Skill
Genius
Top Ranks
Categories
Same photographer See allBehind The Lens
Discover more photos See all
Behind The Lens
Location
I live on ten acres in the wooded hills of NW Arkansas. I take all of my photos of lichens and fungi while wandering around on our land observing the tiny world.Time
I took this photo moments after a spring storm had rolled through. The clouds broke, and the golden hour came shining through.Lighting
I like to experiment with unconventional ways to get light on my tiny subjects. I use 2 flash lights and a hand mirror to create ethereal and moody lighting for my woodland subjects.Equipment
I shot this with a Canon Rebel T3i with a 100mm f2.8 macro lens. I stabilized my camera on a small bean bag to facilitate the relatively slow shutter speed.Inspiration
I love moss beds. I love lichens. I especially love pixie cups. I can spend hours exploring 12 square inches. I was looking for an opportunity to photograph these tiny lichens under perfect light. When the day of spring rain moved out, I knew it was my moment.Editing
I process with Lightroom and for this shot it amounted to a panoramic crop and slightly decreasing my highlights to bring out the sunbursts glinting off the water droplets. I also used the radial filter to isolate the two main droplets and increase clarity within each.In my camera bag
Lens hood, bean bag, lens cleaning supplies, flash lights, hand mirror and a 50mm lens and a wide angle lens.Feedback
I am always reluctant to give advice to other artists. I break a lot of rules and take my own path to macro photography. I will say that for me, approaching my subjects as minature landscapes instead of singular objects was an epiphany. I like tiny apertures and slower shutter speeds. This approach necessitates a tripod or a beanbag to avoid any sort of camera shake. I also use the 2 second timer or a remote shutter release for the same reason. Through experimentation I have found that the depth of field issues inherent with macro photography can be worked out by paying careful attention to composition. I try to set up my shots so that the "wow" part of my subject is in the foreground, and the leading edge of it is where my focus point should be.