Red in Blue
Before / After
Explanation
The vivid red color of this mushroom was already incredibly striking, so rather than trying to compete with it, I wanted the lighting and background to make that color feel even stronger.
Introducing blue directly behind the mushroom created an immediate color contrast, while positioning the brightest background highlights near the center of the frame naturally helped pull attention toward the subject.
The softer directional light from the left gave the mushroom shape, while the smaller rim lights helped separate its stem and cap without making the image feel overly lit.
The result feels slightly surreal, but everything was created right there in the forest using light, a simple piece of steel wool, and a lot of small adjustments.
Introducing blue directly behind the mushroom created an immediate color contrast, while positioning the brightest background highlights near the center of the frame naturally helped pull attention toward the subject.
The softer directional light from the left gave the mushroom shape, while the smaller rim lights helped separate its stem and cap without making the image feel overly lit.
The result feels slightly surreal, but everything was created right there in the forest using light, a simple piece of steel wool, and a lot of small adjustments.
Gear Used
– Canon R5
– Canon RF 100mm Macro
– NEW Adaptalux Pod Mini
– Adaptalux Flexible LED Light (x4)
– Steel Wool
– Benro Tripod
– Canon RF 100mm Macro
– NEW Adaptalux Pod Mini
– Adaptalux Flexible LED Light (x4)
– Steel Wool
– Benro Tripod
Settings
Camera: Canon R5
Lens: Canon RF 100mm Macro
Aperture: f/4
Shutter Speed: 1/100s
ISO: 400
Focus stacking: ~60 images used
Focus Bracketing: ~60 images captured
Lens: Canon RF 100mm Macro
Aperture: f/4
Shutter Speed: 1/100s
ISO: 400
Focus stacking: ~60 images used
Focus Bracketing: ~60 images captured
Breakdown
The vivid red color of the mushroom (1) immediately caught my attention, and from the beginning I knew I wanted to create something a little surreal around it. Instead of keeping the background completely natural, I decided to introduce blue to create a strong contrast against the red mushroom.
The first light I introduced was an Adaptalux Flexible LED Light (3) positioned on the left side of the mushroom. I added a diffuser because I wanted the main light to remain soft and create gradual shadows rather than something too harsh. This established the main direction of light for the entire image.
Next, I added another Flexible LED Light (4), also from the left but positioned slightly farther behind the subject. The purpose of this light was very specific: I wanted just a thin rim of light running up the stem. Because the mushroom was quite reflective in certain areas, I had to carefully position and control this light to avoid blowing any highlights.
Once I was happy with the mushroom itself, I started working on the background.
I placed a piece of steel wool (2) approximately two inches behind the subject and aimed a blue Adaptalux Flexible LED Light (5) downward toward it. This is where I spent quite a bit of time experimenting. Tiny movements of either the steel wool or the light completely changed the pattern of the highlights.
I also experimented with the distance between the mushroom and the steel wool. Eventually, I settled at roughly two inches because the close distance produced the larger out-of-focus highlights I was looking for. I positioned the brightest area directly behind the mushroom near the middle of the frame, helping draw attention back toward the subject while creating that strong red-and-blue contrast.
The final Flexible LED Light (6) was positioned slightly higher and toward the back of the mushroom. I used it very subtly to illuminate part of the upper cap and create one final layer of separation from the background.
Having each light individually controllable through the Adaptalux app, thanks to the new Pod Mini, was especially useful for a setup like this. Once the lights were positioned, I could make very small adjustments to each one without disturbing the mushroom, steel wool, or overall composition.
At that point, the image felt balanced and complete. I used focus bracketing to capture approximately 60 images, which were combined in post-processing to maintain detail throughout the mushroom while preserving the large, soft background highlights.
I also continued changing the shape and position of the steel wool and captured several variations. With something this close to the subject, even a movement of a few millimeters can completely change the background. Having several versions gave me much more freedom later when deciding which pattern worked best.
The first light I introduced was an Adaptalux Flexible LED Light (3) positioned on the left side of the mushroom. I added a diffuser because I wanted the main light to remain soft and create gradual shadows rather than something too harsh. This established the main direction of light for the entire image.
Next, I added another Flexible LED Light (4), also from the left but positioned slightly farther behind the subject. The purpose of this light was very specific: I wanted just a thin rim of light running up the stem. Because the mushroom was quite reflective in certain areas, I had to carefully position and control this light to avoid blowing any highlights.
Once I was happy with the mushroom itself, I started working on the background.
I placed a piece of steel wool (2) approximately two inches behind the subject and aimed a blue Adaptalux Flexible LED Light (5) downward toward it. This is where I spent quite a bit of time experimenting. Tiny movements of either the steel wool or the light completely changed the pattern of the highlights.
I also experimented with the distance between the mushroom and the steel wool. Eventually, I settled at roughly two inches because the close distance produced the larger out-of-focus highlights I was looking for. I positioned the brightest area directly behind the mushroom near the middle of the frame, helping draw attention back toward the subject while creating that strong red-and-blue contrast.
The final Flexible LED Light (6) was positioned slightly higher and toward the back of the mushroom. I used it very subtly to illuminate part of the upper cap and create one final layer of separation from the background.
Having each light individually controllable through the Adaptalux app, thanks to the new Pod Mini, was especially useful for a setup like this. Once the lights were positioned, I could make very small adjustments to each one without disturbing the mushroom, steel wool, or overall composition.
At that point, the image felt balanced and complete. I used focus bracketing to capture approximately 60 images, which were combined in post-processing to maintain detail throughout the mushroom while preserving the large, soft background highlights.
I also continued changing the shape and position of the steel wool and captured several variations. With something this close to the subject, even a movement of a few millimeters can completely change the background. Having several versions gave me much more freedom later when deciding which pattern worked best.
Quick Tip
When using steel wool to create background bokeh, don't settle on the first pattern that looks good. Move it around, change its distance from the subject, adjust the direction of the light, and photograph several variations.
Tiny movements can completely change the highlights, and the more versions you create in the field, the more options you'll have when choosing the final image.
Tiny movements can completely change the highlights, and the more versions you create in the field, the more options you'll have when choosing the final image.
Final Thoughts
People are always looking for different ways to slow down, meditate, and disconnect for a little while.
For me, sometimes all it takes is a tiny mushroom.
I can spend hours looking at one subject, moving a light a few millimeters, changing the background, and completely forgetting about everything else around me. That's one of the things I love most about macro photography.
Sometimes slowing down isn't about doing nothing. It's about becoming completely absorbed in something small.
For me, sometimes all it takes is a tiny mushroom.
I can spend hours looking at one subject, moving a light a few millimeters, changing the background, and completely forgetting about everything else around me. That's one of the things I love most about macro photography.
Sometimes slowing down isn't about doing nothing. It's about becoming completely absorbed in something small.
