PHOTOGRAPHING MUSHROOMS by Pamela Kaminski Where do I begin to give advice on photographing mushrooms? I can hardly remember how I arrived at this point, or if I'm even qualified to offer this instruction. I only know that it has been a driving force in my life for the past 25 years. I ask myself... Why have I spent so much time and money to photograph them? Why do I find them so exciting? Perhaps because their beautiful and mystical occurences cry out to be documented. Who knows? Who cares? Apparently, I do... That's about the only thing I'm sure of. You've got to care about your subject. You need to recognize its unique qualities before taking the camera out of its case. You must "see" it, and when you do, you'll know where your best shot will originate...from your heart. Enough philosophy for now. I truly believe photography is an art, but to produce your vision on film requires a substantial knowledge of its technical nuances. These laws become greatly exaggerated as you enter the realm of "Macro-Photography". Granted, you could spend thousands of dollars on equipment, but a little know-how can produce results beyond those provided by the latest gadgets. But, in photographing mushrooms, there are a few "must have" instruments needed to obtain the best results. I work exclusively in the 35mm format with a single lens reflex camera (SLR). I have not gone digital. Even though the digital camera is making remarkable leaps in resolution and convenience, I still believe the old fashioned SLR permits me to express the reality of my subjects. Much like an artist who paints by hand over one who uses computer software to achieve artistic expression, the basic approach seems to provide the greatest realism. Both interpretations require talent and an artistic eye. They are just different mediums. Below is a list of equipment I feel I "need" to take with me when I foray into the woods to photograph mushrooms. Keep in mind, I'm referring to long hikes over hill and stream, weighted down by my photographic burdens with yet enough room and stamina to return with a bag or two of my favorite edibles and specimens for study. Bringing your equipment into the field is cumbersome to say the least. I try to keep it as simple as possible and still obtain great results. |
CAMERA I use a Cannon Eos Elan 35mm SLR Most major brands of SLR's will take great photographs; it just depends on which features you require and the ease of using them. You need one that has manual settings for aperture and shutter speeds. The no-brainer point-and-shoot SLR's will not work for photographing most mushrooms in their natural habitat. Aperture and its corresponding shutter speed are the most important features of Macro-Photography you will need to understand. |
Aperture refers to the size of the opening of the shutter when a photograph is taken. It becomes increasingly important to produce an adequate "Depth-of-Field," or zone of acceptable focus, for your subject in Macro-Photography. Basically, the smaller the opening, the greater your depth-of-field. The camera measures apertures in f-stops. A relatively short depth-of-field is produced at f/4 and a far greater depth-of-field is achieved at f/16. This is important if you want both the stem and the cap of the mushroom to be in focus. I set my camera to aperture priority with an f/stop of 16 or smaller (remember, the higher number wtih your f/stop, the smaller the opening). Having a camera with a setting for Aperture Priority is a major advantage for it automatically sets an acceptable shutter speed in most lighting situations. |
Shutter speed refers to the length of time the shutter remains open while taking a photograph. It is measured by the camera in fractions of a second. A relatively fast shutter speed, 1/1000 of a second, freezes motion, while a slow shutter speed, 1/8 of a second, can blur the motion and more importantly detect any camera shake. Since most of my subjects are not moving very fast, I don't consider shutter speed a priority, but it is nevertheless a consideration. Lens aperture and shutter speed interact to create each exposure. Subsequently, when using a small aperture for depth-of-field, slow shutter speed is required to admit enough light into the lens to create an acceptable exposure. With shaded light in the forest, most mushroom situations require excruciatingly long exposure times, perhaps as long as 30 seconds. The closeness of the lens to the subject in Macro-Photography only accentuates this problem. With such long exposures, a tripod and a remote cable release designed for your camera are necessary to achieve acceptable depth-of-field and sharpness. |
LENS I use a Sigma 105mm Macro Lens. A macro lens offers the closer-than-usual focusing required for mushroom photography. There are assortments of macro lenses to choose from. A 50mm macro lens can produce images on film up to 1/2 their original size, while a 100mm lens can give you a one to one ratio and the longer focal length provides more working room between the camera and the subject. |
FLASH I use a Cannon Speedlite EX with the Cannon off-camera shoe cord 2. The dark recesses of mushroom habitats require an additional light source. I use an off-the-camera flash for close to 90% of my mushroom photographs. Even when the natural light is sufficient, the flash will highlight your subject and accentuate it from its surroundings. Forget about the automatic flash that comes with your camera. It is not designed for macro photography and cannot deal with the close proximity of your subject to the camera lens. The off-camera shoe cord offers greater flash control. This accessory makes it possible to separate the camera and the flash. It leaves you in control of the angle and proximity of the flash to your subject. You could also explore the benefits of using more than one flash to illuminate your mushrooms. The results can be dramatic but also require additional set-up time and yet more equipment to haul. There are an increasing number of flashes on the market designed specifically for macro photography. I hope to experiment with some of these in the future. |
TRIPOD I use the Benbo 7 This may be the item that has brought me the greatest freedom in dealing with the troublesome details of mushroom photography. A good tripod will let you position your camera virtually anywhere it needs to go. It allows you to eliminate the camera shake associated with long shutter speeds and small aperture settings. It is a necessity for macro photography. The Benbo 7 is extremely versatile and more importantly, lightweight. Most other brands of tripods that perform accordingly weigh twice as much. The Benbo 7 was designed for nature photography and travels well. It is conservatively priced but may be hard to find. You can special order it from a reputable camera shop. You will also need to have a case with shoulder strap to sling it along in your travels. It does not come with a ball head to attach it to your camera, but there are many good ones out there to choose from. Pick one that has a quick mount and lock system. |
FILM I use Slide Film Slide film will offer you the best representation of your photographs. Print film is developed and then enlarged from a negative whose color discretions are determined by the company you choose to submit the film to. If you choose to use print film, find a company that best reproduces them to their natural colors. I use Kodak for all my film processing. Film speed, represented as ISO, is also an important consideration. It will affect the sharpness or grain of your photographs. Unfortunately, the lower the ISO rating, the finer the grain and sharpness. This also means that more light is needed to achieve an acceptable exposure. As the ISO rating increases, so does the sensitivity of the film to light. I try to use the lowest rating possible. Morel photography responds well to an ISO of 50 to 65 because the leaves are not fully developed on the trees and more light filters down on the subject. As the mushroom season progresses, an ISO of 100 may be more approriate. I don't like to go over 100, for it compromises sharpness. Try a reputable camera store to buy some of the "professional" varieties available. You'll notice a marked improvement over the common drug store varieties. Besides a vast selection of Kodak brand films, you'll find Fuji Velvia 50 or 100 ISO speeds for slides. |
MAGIC LANTERN GUIDE I nearly freaked after spending big bucks on my new camera, lens, and the other necessities to pursue my passion when the sales person recommended I buy this book to help me understand my new camera. As it turned out, he was absolutely right. The camera's functions and applications are not fully covered in the owner's manual. It still took me weeks of intense practice to get to know my new camera...but it would have taken months had I not bought this book. If you have purchased a major brand SLR camera, chances are this publication is available to help you understand and utilize all its functions. It is available at most camera stores. I highly recommend buying this book; I refer to it often. |
TECHNIQUE This is perhaps the most complicated component of mushroom photography for me to convey. It is definitely the most subjective. How you "see" your subject will portray the way it looks on film. No matter how exact your camera settings may be, your photographic "eye" will epitomize the concept. Consider your options when photographing your find. I break this down with two different portayals. The first is the pictorial shot, or the natural approach. I find this the most rewarding. This is where I try to photograph the mushroom in its natural state and habitat while disturbing the area as little as possible. I try to capture the species' true essence and appearance as it most likely will present itself to others in the field. Even with the best intentions, a little manipulation is usually prudent to produce a good photograph. A blade of grass, a twig or bit of debris may need to be removed if it comes between your mushroom and the lens. This, along with other distractions in the background can compromise your photograph. Be sure to check the viewfinder completely before taking the shot. Likewise, a nearby nut or leaf may be added to enhance a situation. Another dimension can also be added by convincing some of the local wildlife to contribute to your photograph. |
The other approach, documentary, is to capture the main identifying characteristics of the species. This usually requires several specimens with a more calculated manipulation of each. You may decide to tip one over to get a better view of the gills, or dig one up to reveal a hidden bulb or volva. Taking them out of their natural habitat and setting them up in a more controlled environment can also accomplish this concept. Better yet, you can try to capture their natural beauty along with depicting indentification qualities. |
Examine your mushroom setting from all angles before deciding on the best approach. Chances are, your first instinct will be the best. Start there, and then continue to explore other possibilities. Get up close and personal. Zoom in on some interesting details of the mushroom. Experiment with the angle of your camera and flash. The more photographs you take and experiment with, the more likely you will get something you like. Experience, along with trial and error, is the best teacher. Even with my best intentions, I have good and bad days. There are times when I choose to leave my camera behind and enjoy a leisurely, unburdened walk in the woods, just to get my "groove" back. It is important to enjoy what your doing and not burn out. I can only hope that this article will help those who choose to pursue this highly rewarding aspect of nature photography. Feel free to contact me with any questions or comments regarding mushroom photography. I welcome your suggestions. Happy Trails, Pamela Kaminski |
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