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Photographer Chris McGinnis<\/a> has never taken a macro photograph in the field with a tripod in his entire career as an OM SYSTEM ambassador<\/a>. The reason is simple: mobility trumps stability when you understand the workarounds. Through a combination of advanced image stabilization, field-tested techniques, and strategic flash use, McGinnis captures stunning close-up photographs of insects, spiders, and other subjects while maintaining the freedom to react, reposition, and explore. McGinnis proves that the barriers to handheld macro work are lower than most photographers think.<\/p>\n Full disclosure:<\/strong> This article was brought to you by OM SYSTEM<\/a><\/p>\n The OM SYSTEM Holiday Specials<\/a> are live now! Save up to $400 on practically every camera and lens that OM SYSTEM makes, including the OM-1 Mark II, the OM-3, the M.Zuiko Digital ED 12-40mm F2.8 PRO II, and the M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. Check out OM SYSTEMS Holiday Specials<\/a> and take your photography to the next level.<\/p>\n At a Glance <\/p>\n Chris McGinnis<\/a> didn\u2019t always specialize in documenting the tiny worlds most people overlook. He spent years shooting film in the 1990s before graduating from Moravian University in Bethlehem, Pennsylvania with a degree in graphic design. A decade ago, he became obsessed with looking at other photographer\u2019s macro work and found his calling. Today, as an OM SYSTEM ambassador<\/a>, McGinnis produces world-class close-up photography, mostly within a few miles of his Bethlehem home, proving that compelling close-up photography doesn\u2019t require exotic destinations or complex gear.<\/p>\n His approach to the craft is refreshingly honest. \u201cWhen I first got the 60mm macro lens<\/a>, I couldn\u2019t figure out how to make the photos jump off the screen like the photographers that I was trying to emulate, so I put it away for almost a year,\u201d McGinnis admits. That early struggle became the foundation for mastering handheld macro photography close to home.<\/p>\n The Lightbulb Moment: When the Flash Changed Everything <\/p>\n That near year-long hiatus with his 60mm macro wasn\u2019t just frustration. It wound up being a turning point. McGinnis felt like he couldn\u2019t get dynamic shots no matter what he tried, and the lens sat unused while he wrestled with whether macro photography was even for him. Eventually, he decided to stop at nothing until he could capture compelling close-up photos.<\/p>\n \u201cI finally said no, I\u2019ve got to dust this thing off and learn how to make compelling images with it,\u201d McGinnis recalls. \u201cMy images were good, but the subjects weren\u2019t looking as dynamic as they could have been. I then noticed the macro photographers that I followed all used flash. I\u2019d never shot with a flash before, but I put one on my camera, went out into the field, found this little fly, and took my first flash macro shot. That moment changed everything. I realized a flash was the key to capturing the dramatic look that I\u2019d been missing.\u201d<\/p>\n The discovery wasn\u2019t just about better lighting. Flash fundamentally altered what shutter speeds became possible for handheld work. \u201cThe flash unlocks a world of possibility in handheld macro work,\u201d McGinnis points out. \u201cVirtually all of my macro photos are shot at 1\/100th of a second or slower. Without a flash, shooting handheld at those speeds is more difficult. You\u2019re fighting camera shake and subject movement. With a flash, it becomes easy. I can shoot with one hand in an awkward position and still get sharp images loaded with detail because the flash freezes everything.\u201d<\/p>\n The proof came quickly. McGinnis photographed a praying mantis using a 38-shot focus bracketing sequence, capturing the entire series in about five seconds. \u201cThe multi-shot focus bracketing technique allows me to capture dozens of photos with different focus points,\u201d McGinnis explains. \u201cI can then merge them in post-processing to make sure that every inch of my subject is tack sharp. This technique only works when the subject cooperates briefly, but flash makes those narrow windows of opportunity viable. I just need to find that brief window when the subject stays still, and the flash gives me the speed I need to work within those moments.\u201d<\/p>\n The Low-ISO Advantage: Why Flash Delivers Cleaner Images <\/p>\n McGinnis emphasizes his flash workflow delivers an often-overlooked benefit beyond motion freezing: cleaner image quality through consistently low ISO.<\/p>\n The Base ISO Standard<\/strong><\/p>\n \u201cMost modern OM SYSTEM cameras have a low native ISO of 200,\u201d McGinnis explains. \u201cThat\u2019s going to give me the cleanest result because the sensor is engineered to perform optimally at that setting. While higher ISO can still be leveraged to deliver great results, the absolute cleanest images are made at ISO 200.\u201d<\/p>\n The Flash Advantage<\/strong><\/p>\n \u201cIf you have a flash, you can shoot at or near ISO 200 virtually all the time,\u201d McGinnis notes. \u201cWithout the sufficient light a flash provides, you can\u2019t always shoot at ISO 200. Having a flash allows you to get images that look sharper because they\u2019re less noisy and have cleaner detail.\u201d<\/p>\n The comparison to tripod work is instructive. \u201cYes, you can use slower shutter speeds and lower ISO with a tripod, but you\u2019re stuck in one spot,\u201d McGinnis says. \u201cAlso, a slower shutter speed can make your subject appear blurry if they move, even slightly. With a flash, you get those benefits at ISO 200 and can move around freely.\u201d<\/p>\n When to Break the Rule<\/strong><\/p>\n Higher ISOs can be used to bring ambient color into scenes, when glare from flash starts to look too intense or unnatural, or when shooting without flash. McGinnis accepts the trade-offs when creative benefit outweighs technical cost.<\/p>\n The Stability Trinity: Technology + Field Craft + Flash <\/p>\n Flash solved the light and the shutter speed problem, but it\u2019s only one piece of a three-part system that replaces tripod stability.<\/p>\n The first component is technology. \u201cMy OM-1 Mark II<\/a> has five-axis in-body image stabilization that works together with the built-in stabilization in lenses like the 90mm F3.5 Macro IS Pro<\/a>,\u201d McGinnis explains. \u201cThis combined stabilization system is what makes shooting handheld at 1\/100th of a second viable for me.\u201d<\/p>\n The second component is field craft. \u201cWithout a tripod, keeping the camera stable is still critical,\u201d McGinnis points out. \u201cI\u2019ll lay flat on the ground, lean into trees, or rest my camera directly on the ground. Nothing\u2019s more stable than the ground itself.\u201d<\/p>\n The third component circles back to flash. \u201cWhile the image stabilization handles my movement as the photographer, the flash freezes the subject\u2019s movement through its brief duration,\u201d McGinnis notes. \u201cIt\u2019s a complete system.\u201d<\/p>\n McGinnis tells a story about a Polyphemus moth that illustrates why understanding this system matters. One evening, he spotted one of North America\u2019s largest moths on a tree. \u201cYou have to understand the opportunity and take the right approach,\u201d he stresses. \u201cI knew I needed a lot of shots to capture the moth\u2019s body details, so I set my OM SYSTEM camera for focus bracketing<\/a>, so I could combine them later into a single image with extended depth of field. Focus bracketing is incredibly valuable for overcoming the shallow depth of field that\u2019s inherent to using macro lenses from short working distances. when using a macro lens, since it creates significant background blur that can cause lost details.\u201d<\/p>\n Normally, McGinnis would take single images first to ensure he captured something. \u201cI could feel that I didn\u2019t have long with this moth, so I propped myself up against a tree and shot 40 frames at f\/8 and 1\/100th of a second. The instant the final shot fired, the moth flew away high above the trees, never to be seen again.\u201d<\/p>\n Without the stability trinity, that 40-shot sequence would have been impossible. The image stabilization kept his shots sharp, field craft provided the foundation, and flash froze both his movements and the moth\u2019s potential shifts.<\/p>\n Understanding the system, however, doesn\u2019t mean it is easy to master it.<\/p>\n The Practice Ladder: From Lego Figures To Wolf Spiders <\/p>\n The stability trinity enables handheld macro work, but McGinnis warns against rushing straight into the field. \u201cYou\u2019re setting yourself up for failure without a practice progression.\u201d<\/p>\n McGinnis developed a three-rung ladder that prevents the discouragement that nearly ended his own macro journey.<\/p>\n Rung 1: Indoor Inanimate Objects<\/strong><\/p>\n \u201cIf your goal is to photograph insects, spiders, frogs, and other creatures out in the wild, you most likely won\u2019t succeed if you can\u2019t photograph a Lego figure on your desk in your home office properly,\u201d McGinnis stresses. \u201cStart with small inanimate subjects under controlled circumstances where you can perfect your technique, understand your gear, learn how to use your body to create stability, and get comfortable with the entire process before you ever step outside. Coins, watches, things that are reflective, and things that have texture are all great to practice with. If you can\u2019t do it in controlled circumstances, it will be incredibly difficult to do it out in the field.\u201d<\/p>\n Rung 2: Outdoor Inanimate Objects<\/strong><\/p>\n McGinnis recommends graduating to seeds, grass blades, and leaves. Environmental variables like wind enter the equation, but the subject won\u2019t flee. \u201cThese objects are great to practice focus bracketing on, as you can take your time learning how to set up and capture the images,\u201d McGinnis says. \u201cAutomatic focus bracketing is built into my OM-1 Mark II, but you can do focus bracketing with any camera, although with a little more manual work of shifting the focus after every shot.\u201d<\/p>\n Rung 3: Slow, Cooperative Subjects<\/strong><\/p>\n \u201cSometimes people won\u2019t photograph pigeons or seagulls because they\u2019re commonplace and boring,\u201d McGinnis states. \u201cBut they\u2019re just like the other birds, and they\u2019re great practice subjects. The same applies to close-up and macro photography. Stink bugs and caterpillars might not be glamorous, but they\u2019re cooperative and slow-moving. If these insects don\u2019t inspire you, you might not post these photos to your Instagram, but you can build real skills by taking them. Then when the time comes and the opportunities are fleeting with your dream subject, you have a better chance to capture compelling photos.\u201d<\/p>\n Understanding when to use each focus technique is as important as mastering the techniques themselves. McGinnis approaches every subject with a clear decision framework.<\/p>\n Path A: Nervous Subject or Subject You Have Never Photographed Before \u2192 Singles<\/strong><\/p>\n \u201cWhen I find a subject I\u2019ve never photographed before or I\u2019m nervous it will disappear, I start with single shots,\u201d McGinnis explains. \u201cI shoot from fairly far away to get something on the memory card, then inch closer until I\u2019m composed and close enough. If I reach that point, then I consider in-camera focus stacking, since the focus on a single shot, especially on a macro lens, will fall off and create a shallow depth of field on my subject.\u201d<\/p>\n \u201cMy priority is securing something, even with shallow depth of field, before the opportunity vanishes,\u201d McGinnis says.<\/p>\n Path B: Cooperative Subject That Won\u2019t Move \u2192 In-Camera Focus Stacking<\/strong><\/p>\n \u201cMy OM-1 Mark II has in-camera focus stacking, which allows you to capture and composite up to 15 frames with different focus points automatically in the camera, delivering a finished image with sharp details throughout my subject within seconds,\u201d McGinnis states. \u201cThe result appears on the back screen immediately.\u201d<\/p>\n \u201cFrogs are perfect candidates for this OM SYSTEM feature,\u201d McGinnis insists. \u201cWhen you get a cooperative frog staying still, in-camera focus stacking produces excellent results on their skin texture. I activate it, shoot the sequence, and see the finished image immediately. That instant gratification is wonderful.\u201d<\/p>\n \u201cThe limitation of the approach is the maximum of 15-frames and the requirement that the subject stays completely still during the automated sequence, but for many of the subjects that I photograph, this is a fantastic approach,\u201d McGinnis concludes.<\/p>\n Path C: Subject Might Move Or Need More Than 15 Shots \u2192 Focus Bracketing<\/strong><\/p>\n \u201cIf I don\u2019t know if the subject will move or if I need more than 15 images, I use in-camera focus bracketing,\u201d McGinnis describes. \u201cI set my focus in front of the subject and take automated shots. The focus shifts back from shot to shot. If my subject moves, I stop, move with it, and try again. If it stays still, I can rapidly take multiple bracketed series.\u201d<\/p>\n \u201cThis approach requires post-processing in software like Helicon Focus<\/a>, OM Workspace<\/a>, or Adobe Photoshop<\/a>, but the nimbleness makes it worthwhile for unpredictable subjects,\u201d McGinnis continues \u201cIn my backyard looking for wolf spiders or jumping spiders, I use a lot of focus bracketing,\u201d he adds. \u201cI can react to movements and change angles fast.\u201d<\/p>\n The Secondary Decision: How Much Depth of Field?<\/strong><\/p>\n McGinnis says that subject complexity determines depth of field needs. \u201cSmooth-skinned frogs blend well in 15-frame stacks,\u201d he describes. \u201cHairy spiders with complex leg structures need more frames to maintain detail throughout their body. Higher magnification causes greater shallow depth of field, requiring more shots to capture all of the details.\u201d<\/p>\n When Singles Are Right: The Parallel Planes Technique<\/strong><\/p>\n Sometimes a single shot at the right angle delivers complete sharpness without stacking. \u201cIf you get your sensor plane parallel to the subject, you can create the sense that far more is in focus than you\u2019d expect,\u201d McGinnis states. \u201cWhen I photograph a grasshopper from the side, I can get the entire length in focus at f\/10. I\u2019m aligning parallel to everything I want sharp, so even though my depth of field might only equal a millimeter or two, that\u2019s all I need.\u201d<\/p>\n This works for long subjects photographed from the side or any scenario where everything critical occupies the same focal plane.<\/p>\n \u201cIt\u2019s just a matter of understanding the benefits of all of the processes and the reason why you would use one instead of the others,\u201d McGinnis stresses.<\/p>\n Background Control: From Black Silhouettes To Colorful Context <\/p>\n Background control is a powerful creative tool in flash macro work, but McGinnis emphasizes it\u2019s a secondary consideration.<\/p>\n \u201cUsually, I\u2019m thinking about the best approach to get a shot first,\u201d he explains. \u201cOnce I\u2019ve gotten that shot and something is on the memory card, then I start to assess the background. Do I need to move to improve it?\u201d<\/p>\n The Black Background Mystery<\/strong><\/p>\n Many photographers see McGinnis\u2019s images with jet-black backgrounds and assume he shoots at night. The reality is simpler. \u201cThe reason why a black background occurs with flash is because my scene around my subject is underexposed, but the flash lights my subject properly,\u201d McGinnis says. \u201cThe flash isn\u2019t lighting anything else because the light hasn\u2019t reached whatever is behind my subject. That background remains underexposed and renders as black.\u201d<\/p>\n If the dramatic silhouette effect works, McGinnis recommends using it intentionally. If not, he describes two methods to bring color back.<\/p>\n Method 1: Slower Shutter Speed<\/strong><\/p>\n \u201cI will drop my shutter speed from 1\/100th of a second to 1\/50th of a second while reducing flash power to compensate,\u201d McGinnis describes. \u201cThis allows more ambient light into the exposure, revealing background colors and context. The trade-off is requiring more stability from the photographer and potentially introducing motion blur if the subject moves.\u201d<\/p>\n Method 2: Closer Background Elements<\/strong><\/p>\n \u201cSometimes you can bring elements into the scene to add interest,\u201d McGinnis says. \u201cI\u2019ll look for out-of-focus leaves or branches, and if they\u2019re just out of frame, I might adjust my angle. That simple action can bring color or texture into the background without disrupting the subject.\u201d<\/p>\n \u201cThe OM SYSTEM FL-700WR<\/a> flash has variable power settings that make these distance adjustments practical when I\u2019m out in the field,\u201d McGinnis notes. \u201cI pair it with a Cygnustech diffuser to soften the light and lower contrast.\u201d<\/p>\n Field Craft Fundamentals: Angles, Patience, And The Five-Second Window <\/p>\n Image stabilization and flash freeze motion, but McGinnis stresses they don\u2019t guarantee that the right area of the subject will be sharp. \u201cYou could have a shot that\u2019s sharp, but the focus is not where you want it,\u201d he describes. \u201cSharp means frozen without motion blur. In focus means your intended area is actually the sharpest. In that split second between acquiring focus and pressing the shutter, if you move even slightly, you lose your intended focus point. You need to be stable and nail your focus.\u201d<\/p>\n McGinnis points out that time practicing manual focus on static objects at home prepares him for success in the field. \u201cManual focus in today\u2019s cameras is incredibly powerful. On my OM-1 Mark II, I can zoom in right on a spider\u2019s eye, and thanks to features like Focus Assist Magnification and Focus Peaking, I feel comfortable nailing that focus almost every time.\u201d<\/p>\n The Patience Paradox<\/strong><\/p>\n McGinnis identifies two common mistakes that sabotage close-up photography opportunities.<\/p>\n \u201cA common mistake is rushing in,\u201d he notes. \u201cWe get excited when we find a subject, rush the approach, and the subject flies away. I\u2019m guilty of this even after years of experience.\u201d<\/p>\n The second mistake is moving too fast while searching. \u201cIf I stay in one place and examine one milkweed plant or ten-square-foot area for an hour, I\u2019ll find things I would have walked right past,\u201d McGinnis points out. \u201cIt\u2019s unbelievable how much you can find if you slow down and take your time.\u201d<\/p>\n The Five-Second Window<\/strong><\/p>\n \u201cOne of the most popular questions I get is \u2018How do you get your subjects to stay still?’\u201d McGinnis says. \u201cThere\u2019s no secret. Most subjects don\u2019t stay still for long. I\u2019m looking for those few seconds of opportunity and relying on practice, experience, and predefined camera settings to come together in those small windows.\u201d<\/p>\n McGinnis describes that Wolf spiders dart around, then stop for several seconds before moving again. Flying subjects often return to the same perch repeatedly after being spooked. \u201cI set focus, relax, don\u2019t move too much, and the opportunity usually returns,\u201d he advises.<\/p>\n Once McGinnis secures that initial capture during those brief windows, he shifts his focus to maximizing the opportunity.<\/p>\n Working the Angles<\/strong><\/p>\n When time permits, McGinnis says exploring multiple perspectives improves results. \u201cThe first angle might be great, but chances are, with a little patience and creativity, you could get an even better result,\u201d he insists. \u201cMove up, down, left, right, back, forward. The definition of a close-up photo isn\u2019t getting as close as you can. Sometimes when I\u2019m having a creative block, backing up helps reset and capture more keepers.\u201d<\/p>\n The Hundreds-of-Shots Philosophy<\/strong><\/p>\n \u201cIf I find a subject that\u2019s cooperating, I might take hundreds of shots,\u201d McGinnis emphasizes. \u201cI try focus bracketing, in-camera focus stacking, different exposures, backgrounds, angles. We don\u2019t have to show anybody the bad shots. Don\u2019t be afraid to fail. Experiment, work the angles, shoot extensively, then pick the winners.\u201d<\/p>\n Best Time Of Day: Why Morning Beats Everything <\/p>\n Technique and gear enable handheld macro work, but timing dramatically improves success rates. McGinnis\u2019 most successful close-up photographs are almost always captured in early morning hours.<\/p>\n The Temperature Advantage<\/strong><\/p>\n \u201cThe first reason why mornings are exceptional is temperature,\u201d McGinnis says. \u201cInsects are cold-blooded and slow when it\u2019s cold. If you can find subjects before or as the sun rises, they haven\u2019t had a chance to warm up and become active yet.\u201d<\/p>\n The difference is dramatic. \u201cA dragonfly at 5 a.m. allows me to get close,\u201d McGinnis explains. \u201cThat same dragonfly in the early afternoon won\u2019t let me anywhere near it. Once the sun comes out, insects are active and it\u2019s harder to get close,\u201d McGinnis describes.<\/p>\n The Dew Bonus<\/strong><\/p>\n \u201cThere\u2019s another benefit in the early hours, and that\u2019s morning dew,\u201d McGinnis adds. \u201cWater droplets covering a grasshopper or dragonfly add an interesting visual element, and that dew slows subjects down. When a bee or dragonfly has dew on it, their wings are heavy and they can\u2019t easily move.\u201d<\/p>\n Morning vs. Evening<\/strong><\/p>\n Both morning and evening offer temperature advantages, but morning has an edge. \u201cIn the morning, you\u2019re gaining light, not running out,\u201d McGinnis states. \u201cYou\u2019re revealing subjects, not losing them. There\u2019s a psychological advantage to gaining opportunity rather than losing opportunity racing against the sunset.\u201d<\/p>\n The Midday Reality<\/strong><\/p>\n Active insects during midday require different approaches. Telephoto lenses with close-focusing capability, like the M.Zuiko Digital ED 50-200mm F2.8 IS PRO<\/a>, become valuable tools when proximity is impossible. Faster shutter speeds become necessary.<\/p>\n \u201cThe FL-700WR flash performs reliably in low pre-dawn light, and my OM-1 Mark II\u2019s autofocus handles the reduced ambient light effectively, so early morning is my favorite time to photograph the macro world, but you can still get good photos in mid-day, however, the process will be much different. A longer lens is critical, and you will need to rely on natural light as opposed to your flash.\u201d McGinnis concludes.<\/p>\n Beyond Standard Macro: Wide Angles And Telephotos <\/p>\n Macro lenses deliver stunning detail, but McGinnis expands his close-up toolkit with lenses that might seem unconventional for the genre.<\/p>\n The Wide-Angle Revelation<\/strong><\/p>\n \u201cThe M.Zuiko Digital ED 8-25mm F4.0 PRO<\/a> focuses from 3 inches, which matches the working distance of my dedicated macro lenses,\u201d McGinnis explains. \u201cWhat\u2019s exciting about the 8-25mm is I can use it the same way as my 60mm or 90mm because it can focus incredibly close to my subject,\u201d McGinnis states. \u201cI can be right up close and get all that detail in my subject, but also capture the environmental context. When I want to show where the frog lives or how the snake moves through its habitat, I use the wide-angle lens with the same flash and diffuser.\u201d<\/p>\n When his guide spotted red-eyed tree frogs mating in Panama, McGinnis seized the opportunity. \u201cI used my 8-25mm at f\/10, getting close enough that I could actually see the diffuser reflection in the female\u2019s eye,\u201d McGinnis recalls.<\/p>\n The Telephoto Advantage<\/strong><\/p>\n \u201cWhat\u2019s remarkable about the OM SYSTEM telephoto lenses is they offer close-focusing capabilities that are rare in the category,\u201d McGinnis states. \u201cWith my 40-150mm, 50-200mm, 150-600mm, and 150-400mm lenses, I can get just a few feet from a subject and still focus on it. That is just not possible with most telephoto lenses.\u201d<\/p>\n This capability opens the possibility for high-magnification work with skittish subjects. \u201cWhen I\u2019m looking at dragonflies, butterflies, frogs, or other subjects that won\u2019t let me get super close, I can use these lenses to bridge that gap,\u201d McGinnis explains. \u201cI can get right into that bubble where the subject might get nervous and fly away, but I can still focus and capture high-magnification shots from further back.\u201d<\/p>\n \u201cThe 150-400mm F4.5 TC1.25x IS Pro<\/a> has a built-in teleconverter and focuses from just over 4 feet,\u201d McGinnis describes. \u201cI used it to photograph a plumed basilisk lizard from a moving boat in Panama. There was no way to physically get close. We\u2019re on a moving boat with water between us. I zoomed all the way in, shot at f\/5.6, 1\/500th of a second, ISO 4000. Even with all that movement, I got a sharp, clean shot.\u201d<\/p>\n \u201cThe 150-600mm F5.0-6.3 IS<\/a> provides similar close-focusing capability at a more accessible price point,\u201d McGinnis adds. \u201cI used it for a monarch butterfly early one morning, getting down in the grass with my lens on the ground,\u201d he recalls. \u201cAt f\/6.3, the butterfly remained sharp while everything else painted into a beautiful blur.\u201d<\/p>\n \u201cThese aren\u2019t technically macro shots in the one-to-one magnification sense,\u201d McGinnis clarifies. \u201cBut the close-focusing capability delivers high-magnification results from distances that preserve the subject\u2019s comfort, which is exactly what I need.\u201d<\/p>\n The Backyard Philosophy: Owning Your Local Opportunities <\/p>\n McGinnis produces world-class macro work from Bethlehem, Pennsylvania, a city that doesn\u2019t appear on macro photography destination lists.<\/p>\n \u201cMacro and close-up photography offer us a unique opportunity to make compelling images without needing to travel to exotic places,\u201d McGinnis emphasizes. \u201cYou don\u2019t have to travel to make compelling work. Regardless of where we live, incredible scenes are waiting right outside our doors. The subjects are there. You just have to slow down and look closer at the miniature world.\u201d<\/p>\n Finding Local Opportunities<\/strong><\/p>\n McGinnis recommends planting native wildflowers in your yard to automatically attract native insect species. When milkweed appeared in his yard, it brought monarch butterflies with it. Local parks often maintain pollinator projects with unmowed areas. \u201cThey save mowing costs, and photographers gain access to acres of bustling macro territory,\u201d McGinnis states. \u201cWetlands also serve as breeding grounds and places worth exploring, since insects begin their lives in water.\u201d<\/p>\n Researching local species is critical. \u201cI assure you that wherever you are, there are close-up photography opportunities,\u201d McGinnis stresses. \u201cEach location has unique opportunities you won\u2019t find elsewhere. Research what subjects are in your area, learn when and where to find them, and start by mastering those subjects.\u201d<\/p>\n The Own Your Backyard Principle<\/strong><\/p>\n \u201cYou\u2019ll sometimes hear this phrase in business: when a store opens downtown, they appeal to local customers before worrying about those outside their area,\u201d McGinnis describes. \u201cIt\u2019s the same concept here. Understand the subjects close by before chasing a species you don\u2019t know anything about in an unfamiliar location.\u201d<\/p>\n The Always-Be-Looking Mindset<\/strong><\/p>\n \u201cAlways be on the lookout for new subjects,\u201d McGinnis advises. \u201cWalk around, look closer, flip rocks, get outside, and you\u2019ll be surprised at what you find. I once discovered a tiger bee fly on my mailbox and a robber fly on a street sign across from my house. Wolf spiders are hard to find, but at night they reveal themselves with a headlamp. Their eyes twinkle like diamonds in the grass.\u201d <\/p>\n McGinnis\u2019 weather-sealed ecosystem, consisting of the OM-1 Mark II, 90mm Macro IS Pro, and FL-700WR flash, enables shooting in unexpected conditions. \u201cWe get a lot of rain here, but I never let bad weather discourage me from going outside, as some of the most compelling close-up images happen during and after a rainfall.\u201d<\/p>\n Gear Reality Check: The Minimal Kit That Works <\/p>\n McGinnis notes his actual gear list is refreshingly simple.<\/p>\n The Core Kit<\/strong><\/p>\n \u201cAll I really need when I head into the field is my camera, the OM-1 Mark II<\/a>, my favorite macro lens, the M.Zuiko Digital ED 90mm F3.5 Macro IS PRO<\/a>, the FL-700WR<\/a> flash, and my Cygnustech diffuser,\u201d McGinnis states. \u201cThe beauty of close-up photography is you don\u2019t need a lot. Light, powerful, and weather resistant will keep you nimble, energized, and shooting in any weather.\u201d<\/p>\n The Lighter Alternative<\/strong><\/p>\n The M.Zuiko Digital ED 60mm F2.8 Macro OM<\/a> offers an even more portable option. \u201cIf I want to go lighter, or if I\u2019m photographing subjects where I don\u2019t need quite as much magnification, I have full confidence in my 60mm Macro,\u201d McGinnis describes. \u201cUsing this lens instead of the 90mm Macro makes an already small, lightweight kit even smaller. This kit is incredibly portable and capable.\u201d<\/p>\n Optional Add-Ons<\/strong><\/p>\n \u201cThe M.Zuiko Digital ED 8-25mm F4.0 PRO OM<\/a> joins my kit when I am expecting larger subjects like frogs or snakes. The M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO<\/a> or the M.Zuiko Digital ED 150-600mm F5.0-6.3 IS<\/a> comes along when distant or skittish subjects are likely to be in the location I am photographing.\u201d<\/p>\n \u201cWhen I want a light kit with magnification flexibility, I use the Raynox DCR-250<\/a> macro adapter with the 60mm,\u201d McGinnis describes. \u201cI opt for the Raynox over extension tubes because it clips on and off the lens easily versus removing the lens to add extension tubes, which can take up valuable time when you are trying to photograph a skittish subject.\u201d<\/p>\n The No-Tripod Freedom<\/strong><\/p>\n \u201cOne of the things I love about macro photography and shooting without a tripod is the minimal mental commitment,\u201d McGinnis emphasizes. \u201cWhen you have to pack up a bunch of lenses and accessories, it can make the process feel dreadful at times. With my go-to kit, I don\u2019t need to bring much at all. I keep it all together on my desk and I throw it into a small backpack when I want to go out. It just feels easy. I\u2019m mobile, I\u2019m nimble, and I can react to subjects and opportunities instantly.\u201d<\/p>\n Experience Over Perfection <\/p>\n McGinnis emphasizes his philosophy prioritizes being present in the field over technical perfection.<\/p>\n \u201cI\u2019d rather be out and miss shots than stay home because I\u2019m afraid of some technical imperfection,\u201d McGinnis stresses. \u201cThat\u2019s the mindset that will allow you to make the most of your time, and therefore, create the most successful images. You might take a hundred images, and maybe only 10 are good enough to share. You took 90 images that aren\u2019t quite good enough, but you also got 10 that are and those 10 wouldn\u2019t have happened if you\u2019d stayed home.\u201d<\/p>\n The Learning Curve Reality<\/strong><\/p>\n McGinnis acknowledges that handheld macro requires practice. \u201cIt\u2019s going to take experience and effort to learn how to stabilize yourself,\u201d he notes. \u201cEven with all of the technology at our fingertips, if you are moving or your subject is moving, you\u2019re going to have blurry images. It\u2019s not realistic to expect every single image to be sharp or portfolio worth, and that\u2019s okay.\u201d<\/p>\n The Core Takeaway<\/strong><\/p>\n \u201cSome of the best images I\u2019ve ever taken happened because I was willing to go out and try things even when conditions weren\u2019t perfect,\u201d McGinnis concludes. \u201cEarly morning light, patient fieldcraft, manual focus practice, understanding my subject\u2019s behavior. These fundamentals matter more than any camera feature. The OM-1 Mark II, the 90mm Macro, the FL-700WR flash, they\u2019re tools that make handheld macro possible, but the photographer\u2019s mindset and field experience are what make the images work. Get out, practice, fail, learn, and keep shooting.\u201d<\/p>\n More from Chris McGinnis can be found on his website<\/a>, Facebook<\/a>, and Instagram<\/a>.<\/p>\n Full disclosure:<\/strong> This article was brought to you by OM SYSTEM<\/a><\/p>\n The OM SYSTEM Holiday Specials<\/a> are live now! Save up to $400 on practically every camera and lens that OM SYSTEM makes, including the OM-1 Mark II, the OM-3, the M.Zuiko Digital ED 12-40mm F2.8 PRO II, and the M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. Check out OM SYSTEMS Holiday Specials<\/a> and take your photography to the next level.<\/p>\n Image credits:<\/strong> All photos by Chris McGinnis<\/a>.<\/p>\n ![\"Close-up](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-robberflybottlefly-14frames-800x600.jpg\"){kind=tracking}
Robber Fly & Bottle Fly \u2022 Olympus E-M1 Mark II \u2022 M.Zuiko 60mm F2.8 Macro OM \u2022 60mm (120mm equivalent) \u2022 1\/50sec \u2022 f\/8 \u2022 ISO 200 \u2022 14 Frame Focus Bracket \u2022 Stacked Using Helicon Focus <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-fly-1frame-800x600.jpg\"){kind=tracking}
Olympus OM-D E-M10 \u2022 M.Zuiko Digital ED 60mm F2.8 Macro OM \u2022 60mm (120mm equivalent) \u2022 1\/160sec \u2022 f\/9 \u2022 ISO 200 <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-frogamericanbull-15frames-800x600.jpg\"){kind=tracking}
American Bull Frog \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 50-200mm F2.8 IS PRO \u2022 1\/125sec \u2022 f\/5.6 \u2022 ISO 200 \u2022 15 Images \u2022 In-Camera Focus Stacking <\/p>\n![\"Close-up](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-tigerbeefly-5frames-800x600.jpg\"){kind=tracking}
Tiger Bee Fly \u2022 Olympus E-M1 Mark II \u2022 M.Zuiko 60mm F2.8 Macro OM \u2022 60mm (120mm equivalent) \u2022 1\/50sec \u2022 f\/7.1 \u2022 ISO 200 \u2022 5 Frame Focus Bracket \u2022 Stacked Using Helicon Focus <\/p>\n![\"Close-up](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-mantischinese-38frames-640x800.jpg\"){kind=tracking}
Chinese Mantis \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/7.1 \u2022 ISO 200 \u2022 38 Frame Focus Bracket \u2022 Stacked Using Helicon Focus <\/p>\n![\"Left:](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-mantischinese-38frames-800x381.png\"){kind=tracking}
Left: Polyphemus moth \u2022 Behind the Scenes
Right: Polyphemus Moth \u2022 OM-1 \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/8 \u2022 ISO 200 \u2022 40 Frame Focus Bracket \u2022 Stacked Using Helicon Focus<\/p>\n![\"Two](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/Chris-McGinnis-OM-SYSTEM-Lego-Macro.gif\")
OM-1 Mark II \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 ISO 200 \u2022
First image was shot at f\/3.5, second image was shot at f\/8, third image was shot at f\/16, and the fourth image was a 15 image in-camera focus stack shot at f\/8 <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/Chris-McGinnis-OM-SYSTEM-Macro-Focus-Stack-Flower.gif\")
The 15 raw photos captured using the in-camera focus stacking.
OM-1 \u2022 M.Zuiko Digital ED 60mm F2.8 Macro OM \u2022 1\/125sec \u2022 f\/4 \u2022 ISO 200 ![\"Close-up](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-focusstacking-flower-15frames-800x600.jpg\"){kind=tracking}
OM-1 \u2022 M.Zuiko Digital ED 60mm F2.8 Macro OM \u2022 1\/125sec \u2022 f\/4 \u2022 ISO 200 \u2022 15 Images \u2022 In-Camera Focus Stacking <\/p>\n![\"Close-up](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-stinkbugbrownmarmorated-12frames-640x800.jpg\"){kind=tracking}
Brown Marmorated Stink Bug \u2022 OM-1 \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/80sec \u2022 f\/6.3 \u2022 ISO 200 \u2022 12 Frame Focus Bracket \u2022 Stacked Using Helicon Focus The Focus Decision Tree: Singles Vs. Stacking Vs. Bracketing <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/Chris-McGinnis-OM-SYSTEM-In-Camera-Focus-Stacking-Macro-800x198.jpg\")
Stauffer\u2019s treefrog
Left: OM-1 Mark II \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/9 \u2022 ISO 200 \u2022 15 Frame In-Camera Focus Stack
Middle: OM-1 \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/80sec \u2022 f\/8 \u2022 ISO 200 \u2022 15 Frame In-Camera Focus Stack
Right: OM-1 Mark II \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/10 \u2022 ISO 200 \u2022 15 Frame In-Camera Focus Stack <\/p>\n![\"Close-up](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/Chris-McGinnis-OM-SYSTEM-Macro-Wolf-Spider-800x371.jpg\")
Wolf Spider
Left: OM-1 \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/6.3 \u2022 ISO 200 \u2022 20 Frame Focus Bracket \u2022 Stacked Using Helicon Focus
Right: OM-1 Mark II\u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/9 \u2022 ISO 200 \u2022 55 Frame Focus Bracket \u2022 Stacked Using Helicon Focus<\/p>\n![\"Close-up](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-spiderjumpingemerald-30frames-800x600.jpg\"){kind=tracking}
Jumping Emerald Spider \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/11 \u2022 ISO 200 \u2022 30 Frame Focus Bracket \u2022 Stacked Using Helicon Focus <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-grasshopperspurthroated-1frame-800x600.jpg\"){kind=tracking}
Spur-Throated Grasshopper \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/10 \u2022 ISO 200<\/p>\n![\"Close-up](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-spottedlanternfly-1frame-800x600.jpg\"){kind=tracking}
Spotted Lantern Fly \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/10 \u2022 ISO 200<\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-mantischinese-1frame-640x800.jpg\"){kind=tracking}
Chinese Mantis \u2022 OM-1 Mark II \u2022 M.Zuiko 150-400mm F4.5 TC1.25X IS PRO \u2022 1\/60sec \u2022 f\/9 \u2022 ISO 200 <\/p>\n![\"Split](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/Chris-McGinnis-OM-SYSTEM-Macro-Closer-Background-Elements-800x298.jpg\")
Left: Hoverfly \u2022 OM-1 \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/8 \u2022 ISO 200
Right: Dragonfly \u2022 OM-1 \u2022 M.Zuiko Digital ED 60mm F2.8 Macro OM \u2022 60mm (120mm equivalent) \u2022 1\/50sec \u2022 f\/5.6 \u2022 ISO 200<\/p>\n![\"Close-up](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/Chris-McGinnis-OM-SYSTEM-Macro-In-Focus-vs-Sharp.gif\")
Frame 1: Sharp throughout
Frame 2: In focus on the eyes.
OM-1 \u2022 M.Zuiko Digital ED 60mm F2.8 Macro OM \u2022 60mm (120mm equivalent) \u2022 1\/100sec \u2022 f\/9 \u2022 ISO 200 <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-caterpillarsaddleback-55frames-800x600.jpg\"){kind=tracking}
Saddleback Caterpillar \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/10 \u2022 ISO 200 \u2022 55 Frame Focus Bracket \u2022 Stacked Using Helicon Focus <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/Chris-McGinnis-OM-SYSTEM-Macro-Working-The-Angles-800x495.jpg\")
Left: Robber Fly \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/18 \u2022 ISO 200 \u2022 5 Frame Focus Bracket \u2022 Stacked Using Helicon Focus
Right: Robber Fly \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/10 \u2022 ISO 200 <\/p>\n![\"Close-up](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-dragonfly-21frames-800x600.jpg\"){kind=tracking}
Dragon Fly \u2022 OM-1 \u2022 M.Zuiko Digital ED 60mm F2.8 Macro OM \u2022 60mm (120mm equivalent) \u2022 1\/60sec \u2022 f\/6.3 \u2022 ISO 200 \u2022 21 Frame Focus Bracket \u2022 Stacked Using Helicon Focus <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-beetleredmilkweed-26frames-640x800.jpg\"){kind=tracking}
Red Milkweed Beetle \u2022 OM-1 \u2022 M.Zuiko Digital ED 60mm F2.8 Macro OM \u2022 60mm (120mm equivalent) \u2022 1\/50sec \u2022 f\/5 \u2022 ISO 200 \u2022 26 Frame Focus Bracket \u2022 Stacked Using Helicon Focus <\/p>\n![\"Side-by-side](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/Chris-McGinnis-OM-SYSTEM-Macro-Midday-Reality-800x496.jpg\")
Left: Butterfly \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 50-200mm F2.8 IS PRO \u2022 1\/1000sec \u2022 f\/3.5 \u2022 ISO 200
Right: Butterfly \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 50-200mm F2.8 IS PRO \u2022 1\/1000sec \u2022 f\/3.2 \u2022 ISO 200 <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-snakevine-1frame-800x600.jpg\"){kind=tracking}
OM-1 Mark II \u2022 M.Zuiko Digital ED 8-25mm F4.0 PRO OM \u2022 1\/100sec \u2022 f\/13 \u2022 ISO 200 <\/p>\n![\"Two](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-frogsredeyedtree-1frame-800x600.jpg\"){kind=tracking}
Red-Eyed Tree Frogs \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 8-25mm F4.0 PRO OM \u2022 1\/100sec \u2022 f\/10 \u2022 ISO 200 <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-butterfly03-1frame-640x800.jpg\"){kind=tracking}
Butterfly \u2022 OM-1 Mark II \u2022 M.Zuiko 150-400mm F4.5 TC1.25X IS PRO \u2022 1\/60sec \u2022 f\/5.6 \u2022 ISO 3200<\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-lizardbasilisk-1frame-640x800.jpg\"){kind=tracking}
Basilisk Lizard \u2022 OM-1 Mark II \u2022 M.Zuiko 150-400mm F4.5 TC1.25X IS PRO \u2022 1\/500sec \u2022 f\/5.6 \u2022 ISO 4000 <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-butterfly04-1frame-800x600.jpg\"){kind=tracking}
Butterfly \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 150-600mm F5.0-6.3 IS \u2022 1\/800sec \u2022 f\/6.3 \u2022 ISO 200 \u2022 <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-flybottle-6frames-800x600.jpg\"){kind=tracking}
Bottle Fly \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/80sec \u2022 f\/14 \u2022 ISO 200 \u2022 6 Frame Focus Bracket \u2022 Stacked Using Helicon Focus <\/p>\n![\"Close-up](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-mantisnarrowwinged-9frames-800x600.jpg\"){kind=tracking}
Narrow-Winged Mantis \u2022 OM-1 Mark II \u2022 M.Zuiko Digital ED 90mm F3.5 Macro IS PRO \u2022 90mm (180mm equivalent) \u2022 1\/100sec \u2022 f\/16 \u2022 ISO 200 \u2022 9 Frame Focus Bracket \u2022 Stacked Using Helicon Focus <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-inuse13-800x600.jpg\"){kind=tracking}
<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-inuse10-800x600.jpg\"){kind=tracking}
<\/p>\n![\"Close-up](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-stinkbuggreen-28frames-800x600.jpg\"){kind=tracking}
Green Stink Bug \u2022 OM-1 \u2022 M.Zuiko Digital ED 60mm F2.8 Macro OM \u2022 60mm (120mm equivalent) \u2022 1\/80sec \u2022 f\/7.1 \u2022 ISO 200 \u2022 28 Frame Focus Bracket \u2022 Stacked Using Helicon Focus <\/p>\n![\"A](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/mcginnis-petapixel-headshot02-800x600.jpg\"){kind=tracking}
<\/p>\n