Lighting a scene for close-up and macro stacking

This is an alternative approach for lighting close-up and macro subjects that I began using in May 2018. At the time, Fuji had introduced an in-camera bracketing feature for focus stacking and I was looking for a way to combine the stacking technique with studio lighting methods for moth photography. The result is an image with large depth of field (wingtip to wingtip) and detail that pops off the screen. It does not work with active subjects, you need a docile and cooperative (static) model that will sit still for the duration of the bracketing process. And it isn't a situation where you are finding your scene in nature but creating a set stage, not unlike bird on a stick photography - if that kills any romantic notions you may have then this may not be for you. For myself, it allows me to explore and celebrate the natural beauty in what for many people is an unexpected subject, and do so in an artistic manner.

Moths are relatively easy to work with. You can sugar for them or attract them with UV blacklights or mercury vapor designs if you are very serious. But you can also happen upon them in your garden or at the outside lights of your home. Some will fly when disturbed but many will allow you to slip a twig or leaf underneath them and stay relatively calm, which is important for making a stacked image. I like to use a leaf, rock, branch, or log as the natural stage for the photo but a board or brick could be nice as well.

Once you have your moth on a rock or leaf, you can then move both into a mini-studio light cube - the kind used for product photography. I have been using several made by FotoDiox ( https://fotodioxpro.co​m …p/products/stud​io-box-led ) but in the near future will be giving Godox a try ( http://www.godox.com …i_Photography_S​tudio.html ). I like that the latter has a construct-able framework structure that can be used for the LED lights both inside the cube and also without the cube walls attached. The former (which was used in every photo I will share here) is a soft cube, having no skeleton framework inside. Also, as the LED lights are part of one side of the cube, there is no way of using the device as a bare framework without the side walls.

What the cube gives you is a very large and close LED light source for your subject and stage. Both cubes allow for diffusion of those LED lights, which I always use. The combination of being close and large allows for softer light versus a light source that is small and farther away (this creates a much harder light). This is fundamental in studio lighting. In addition, the other walls inside the light cube are reflective which bounces and fills nicely around the subject.

It's great light but that is only the half of it - light gives illumination and shadow gives definition. The straight forward deployment of the light cube has the LED lights on the top and that is where my twist comes in. Instead, I flip the cube so that the LEDs are on either the right side or the left. This gives me a very large, close light source for side lighting with the additional bounce provided by all the other reflective walls. This results in extra fine definition of all the small details in combination with the soft light and the deep focus of the stacking. It's great for wing scales and feathery antennae (when your subject cooperates).

While the side lighting does great things for your model, it also gives you artistic options with the stage itself. If you can get the object of the image into the light cube, you can often position the entire stage for best effect.
The two images in this initial post were good, but in the third image of the next post the side lighting on the stage made for a more exciting image.

Top image - Rosema ampliata. Bottom - American Silkworm Moth (Epia muscosa). La Merced, Junin, Peru - January 2019.

Third image - American Silkworm Moth (Epia muscosa). La Merced, Junin, Peru - January 2019.

The lighting on the leaf is much improved by a simple rotation inside the light cube.
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Thanks for sharing your technique! I read an article at Strobist a while back that mentioned using side lighting to bring out textures, and it's the reason why I use a macro twin flash in a key (top of subject) and fill (side of subject) because it gives me better control over shadows and that side lighting that brings out the detail. But I shoot single frames at F11 up to 5x.

Dalantech wrote in post #18974335
Thanks for sharing your technique! I read an article at Strobist a while back that mentioned using side lighting to bring out textures, and it's the reason why I use a macro twin flash in a key (top of subject) and fill (side of subject) because it gives me better control over shadows and that side lighting that brings out the detail. But I shoot single frames at F11 up to 5x.

Good illustration of the understanding of when a macro ring light is good for 'macro' and when it is the wrong choice!

Wilt wrote in post #18974523
Good illustration of the understanding of when a macro ring light is good for 'macro' and when it is the wrong choice!

What are you trying to say?

That is exactly what this is, application of Strobist type studio lighting in the field. And very similar to what you are doing in a more mobile fashion with the macro flash. The subtle difference is that my key is the side lighting and the fill is coming from the reflective sides of the cube on the top and the opposite side.

On my next visit to Peru (I married a Peruvian girl) I am planning on trying the Godox without the cube, but just the LED lights on the framework. I will set up in a sandy river bed where butterflies take on liquid and salts. There is an old tropical leps trick where you can lure them onto an exact spot by peeing on the sand. Then it's a matter of setting the framework in place and using either the 80mm macro or the 100-400mm to make single frame images. If any show themselves to be especially relaxed, I may even attempt some stacking.

Several locations I am familiar with are very good habitat for various Morphos, Metalmarks, Pierids, and even day flying Urania moths.

Dalantech wrote in post #18974624
What are you trying to say?

You exhibit good understanding of the principles of light sources! There is a good time to use a ring flash...when you want apparently directionless illumination. There is a good time to use two light sources with balancing of the light output-- and NOT a ring flash-- when you want 'modelling' of the object shape or better exhibition of texture, etc.