Twisted Light
Explanation
What makes this image work is the combination of structure and simplicity. The spiral shape naturally draws attention, while the diagonal lines created by the rake help move the eye through the frame.
The cooler background contrasts nicely against the warmer tones of the tendril, creating separation without overwhelming the subject.
The subtle shadow created by blocking ambient light adds dimension and prevents the image from feeling flat.
The cooler background contrasts nicely against the warmer tones of the tendril, creating separation without overwhelming the subject.
The subtle shadow created by blocking ambient light adds dimension and prevents the image from feeling flat.
Gear Used
– Canon R5
– Canon RF 100mm Macro
– amaran Ace 25c
– amaran Ray 60c
– Peak Battery
– Flexible LED Light
– Leaf Rake (6)
– Canon RF 100mm Macro
– amaran Ace 25c
– amaran Ray 60c
– Peak Battery
– Flexible LED Light
– Leaf Rake (6)
Settings
Camera: Canon R5
Lens: RF 100mm Macro
Aperture: f/5
Shutter Speed: 1/100s
ISO: 400
Focus stacking: ~30 images (from ~90 bracketed images)
Lens: RF 100mm Macro
Aperture: f/5
Shutter Speed: 1/100s
ISO: 400
Focus stacking: ~30 images (from ~90 bracketed images)
Breakdown
I started by exploring the grapevine and looking for a tendril with an interesting shape. After about 30 minutes of searching and testing compositions, I settled on this spiral.
The first thing I did was underexpose the scene by roughly two stops. This darkened the background slightly and created room to introduce artificial lighting while maintaining a natural look.
I placed light (2) camera right and used it as my key light to establish the primary direction of light and reveal the texture of the tendril.
As I refined the composition, I realized the background felt busy and distracting. To simplify it, I placed a leaf rake (6) behind the subject, creating a series of diagonal lines running across the frame.
Once the rake was in place, I added light (3) further back in the scene. After experimenting with different colors and intensities, I settled on a cooler tone that created separation and complemented the warmer tendril.
I then added light (4) behind and slightly to the left of the subject to create a subtle halo. The effect was very small, but it helped separate the tendril from the background and gave the subject a little more presence.
Finally, I used my hand (5) above the subject to block some ambient light from entering the scene. This deepened the shadows and added a little more dimensionality to the final image.
I captured approximately 90 bracketed images, then used only one image out of every three during processing, resulting in a final stack of roughly 30 images.
The first thing I did was underexpose the scene by roughly two stops. This darkened the background slightly and created room to introduce artificial lighting while maintaining a natural look.
I placed light (2) camera right and used it as my key light to establish the primary direction of light and reveal the texture of the tendril.
As I refined the composition, I realized the background felt busy and distracting. To simplify it, I placed a leaf rake (6) behind the subject, creating a series of diagonal lines running across the frame.
Once the rake was in place, I added light (3) further back in the scene. After experimenting with different colors and intensities, I settled on a cooler tone that created separation and complemented the warmer tendril.
I then added light (4) behind and slightly to the left of the subject to create a subtle halo. The effect was very small, but it helped separate the tendril from the background and gave the subject a little more presence.
Finally, I used my hand (5) above the subject to block some ambient light from entering the scene. This deepened the shadows and added a little more dimensionality to the final image.
I captured approximately 90 bracketed images, then used only one image out of every three during processing, resulting in a final stack of roughly 30 images.
Quick Tip
When using focus bracketing, it’s usually better to choose a smaller focus increment than you think you need. Removing extra frames is easy, but missing detail between slices cannot be recovered later.
Final Thoughts
One of the things I enjoy most about macro photography is discovering interesting shapes in places most people would walk right past. This dried tendril had been there all along… it just needed a little light and attention to reveal its character.
