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FAQ
Q: Can I use your picture for free?
Q: What camera/lens are you using?
Q: Where else can I see your pictures besides this awesome website?
Q: Will your copyright watermark appear on pictures that I buy?
Q: How can I take pictures like yours?
Q: What is magnification, and why does it matter?
Q: What is depth of field?
Q: What is a focus-stacked composite?
Q: Does your camera do automatic focus-stacking?
Q: What is a stacked and stitched micro panorama?
Q: What is a moist chamber?
Q: Are your photos digitally manipulated?
Q: Do you use AI to create your photos?
Q: How do you find such small things?
Q: Do you chill and pose, or otherwise harm or harass any wildlife?
Q: Are you positive about all your identifications?
Q: Will you photograph my pet/family/wedding/bar mitzvah?
Q: Can you identify a bug I found in my house from this cellphone photo?
Q: Can I write a guest blog post for you?
Q: Can I use your photo as a reference for my art?
Q: Are you the same Timothy Boomer as...?
Q: Will unfathomable riches from a recently deceased foreign prince entice you to pay advance fees in order to receive said riches?
Q: Can I use your picture for free?
A: K-12 students may use the photos from my website for academic purposes, provided the pictures remain unedited with my copyright/watermark clearly visible. All others, please contact me with your requirements so we can work out a reasonable fee.
Q: What camera/lens are you using?
A: Many camera/lens combinations can be used to produce pictures similar to mine. Masterpieces have been made with simple point-and-shoot cameras, and terrible photos have been made with equipment that is far more expensive and advanced than what I use. I won't deny the importance of good optics and a reliable camera, but high-end equipment without patience and rigorous technique will not lead to consistently great pictures. With that being said, my primary camera is a Nikon D810. I use a variety of lenses depending on the circumstances, most frequently the Nikon 200mm macro, the Laowa 100mm 2x macro, and the Laowa 25mm 2.5-5x macro. For especially tiny subjects, such as slime molds, I use Mitutoyo 7.5x and 10x microscope objectives adapted to my camera using my aforementioned 200mm Nikon as a converging lens.
Q: Where else can I see your pictures besides this awesome website?
A: I regularly post my new work on Instagram along with behind-the-scenes pictures and videos so you can get a better idea of what I do in the field. If you are looking for physical prints, I have some of my favorite pictures on display at the Vacaville Art Gallery. This is a great place to see the work of many talented artists!
Q: Will your copyright watermark appear on pictures that I buy?
A: No, my copyright watermark is simply an online theft deterrent. It will not be used on any physical prints or digital images that are licensed for publication.
Q: How can I take pictures like yours?
A: Thoroughly research your intended subject so you know when and where to look for it, spend hours driving to your location, cover yourself in mosquito repellant, crawl on hands and knees until you find your subject, discover that it's past its prime, arrive a week earlier the following year, repeat the previous steps until your timing is perfect, check the wind forecast to make sure it's a calm day, discover that the forecast was wrong, attempt to block the wind with a large diffuser or some other DIY contraption, attempt to stabilize your subject so it won't bounce around in the breeze that wasn't supposed to exist, dodge the mosquitoes that are apparently impervious to your repellant, spend 30-60 minutes cleaning your subject and its surroundings with fine-point tweezers and paintbrush, try not to scratch the dozen mosquito bites you have by now, shoot from a sturdy tripod, shoot in mirror-up mode with electronic shutter and a cable release to avoid camera vibrations, block any direct sunlight from reaching the subject or the background, use diffused flash to fill in shadows and add a touch of sparkle to the subject, balance said flash with ambient light to retain a bright and colorful background, take dozens or even hundreds of pictures with tiny incremental focus shifts that will later be composited into a single photo, drive home, spend quality time with your family, sleep, process your photos, realize they're not perfect, learn from them, delete them, and repeat the previous steps until you finally have a picture that meets your standard of excellence.
Q: What is magnification, and why does it matter?
A: Magnification is the ratio of a subject's size on the camera sensor compared to its actual size. It's perhaps easiest to understand with a few examples. Lifesize magnification, usually denoted as 1:1 or 1x, means that a subject will be recorded as its true size: a 1mm slime mold will take up 1mm on the camera sensor. At twice lifesize, or 2:1, that same slime mold will take up 2mm on the camera sensor, and so on. I routinely work with magnifications up to 10x.
There is a common misconception that sensor size affects magnification (e.g., m4/3 sensors have twice as much magnification as full frame), but this is not true from a technical standpoint. After all, that 1mm slime mold photographed at 1:1 will still take up 1mm on the sensor no matter if the sensor is full frame, micro 4/3, APS-C, or medium format. Now, it's true that the subject will fill a larger portion of the frame if the sensor is smaller or if the image becomes cropped, but that doesn't inherently increase the level of detail that's recorded.
So why does it matter? If you just want to appreciate a subject for its beauty, then magnification probably isn't too important. However, I often include magnifications in my captions for scientists, other photographers, and anyone else who might enjoy a better understanding of a subject's size and the technical challenges (e.g., shallow depth of field) required to photograph it.
Q: What is depth of field?
A: Depth of field (DOF) refers to how much of the subject is in focus. Theoretically, only an infinitesimally thin plane that is parallel to the camera sensor is in perfect focus. However, the areas directly behind and in front of that plane will also appear acceptably sharp. How far those areas extend depends on aperture and magnification. Small apertures and low magnifications increase DOF, whereas large apertures and higher magnifications reduce it. Smartphone cameras typically have very low magnifications that make DOF appear to extend forever. Macro lenses will have very shallow DOF as they approach lifesize or 1:1 magnification. Specialty macro lenses that go beyond lifesize will have even less DOF, and by the time we get to 10x, the depth of field is a mere 3.5μm. That's just three and a half thousandths of a millimeter, or about 1/30 of the thickness of a sheet of printer paper! The only way to get the entire subject in focus in these situations is by focus-stacking.
Q: What is a focus-stacked composite?
A: One of the biggest challenges with photographing little things is shallow depth of field (DOF), meaning that only a tiny sliver of the subject is in sharp focus. As magnification increases, DOF decreases. The classic way to compensate for this is by using smaller apertures, such as f/22 and beyond. More of the subject will appear to be in focus (yay!), but there will also be an overall softening of the image due to diffraction (boo!), and the background can become quite busy and distracting (no thanks!). When the situation allows, focus-stacking is often a much better technique: a series of images are captured with small, incremental focus shifts, and the sharpest portions of each frame are later composited into a single picture using specialized computer software (I use Helicon, but Zerene is great too). This allows for theoretically unlimited depth-of-field, even when the lens is used wide open (or at whichever aperture provides the desired look). The animation below shows individual frames that are "stacked" into the final composited photo.
Q: Does your camera do automatic focus-stacking?
A: No. I manually adjust focus either on the lens itself or by incrementally moving the entire camera assembly on my Sunwayfoto MFR-150s manual focus rail. These manual methods may be old-fashioned, but I like the feeling that I'm integrally involved in the whole photographic process. With that being said, a generous friend recently gave me a StackShot automated focusing rail. It's not very practical to use in the field, but it's a very nice treat when I'm doing photography at home!
Q: What is a stacked and stitched micro panorama?
A: Ever since I started using microscope objectives to photograph tiny subjects, I have been absolutely awestruck by the miniscule details that can be observed. It makes me want to photograph every subject that way! Of course, most subjects (even ones that are typically considered to be very small) are too large to fit in the frame when a microscope objective is used. However, we can still use the objective to photograph all the different sections, and then merge them together like puzzle pieces in Photoshop. Each section needs to be focus-stacked first because the depth of field is infinitesimal when using microscope objectives. Also, one needs to be careful to keep lighting and perspective consistent throughout the entire process for everything to line up seamlessly. This method requires a lot of time and effort, but the result is an ultra-high-resolution photo with microscopic details while still allowing us to see the entire subject. Think of it like the panorama feature on your smartphone but for the micro world.
Q: What is a moist chamber? That sounds kind of creepy.
A: A moist chamber is a fancy name for a container with a damp substrate inside. Some folks also call it a slimarium. I typically use takeout boxes and place small pieces of woody debris inside after thoroughly soaking them in water (rainwater and distilled water are best, but tap will usually do). Sometimes, when temperature and humidity are just right, slime molds or tiny fungi will begin to pop up. I prefer to find and photograph these subjects out in the forest (this is wildmacro after all), but sometimes that's simply not possible due to long periods of drought. While setting up my camera in the garage doesn't elicit much sense of adventure, one huge benefit is the ability to monitor the changes of a particular subject. This is great for timelapse work or simply increasing the chances of photographing an organism during its prime. Subjects that were cultivated in this manner are clearly indicated on this website.
Q: Are your photos digitally manipulated?
A: Yes, but never for deceit. My most common edit is to dodge and burn — that is, to lighten or darken specific areas to retain details in the shadows and highlights. Ansel Adams did this in the darkroom back in film days, and photographers have been doing it ever since. Our eyes and brains, which are much more advanced than any camera, do this automatically! My next most common edit is to remove the "halos" and other unsightly artifacts that are inadvertently introduced by focus-stacking. This can be a painstaking task, but I find it necessary in order to produce natural-looking photos. I also remove tiny specks of dust or debris that detract from the beauty and intricacy of the subject. I do the vast majority of this in the field using tweezers and a paintbrush, and I consider "digital cleaning" with Photoshop simply a continuation of that process. And that's it - no superimposing a gigantic full moon over a wide-angle landscape, turning a blue flower into a red one, or boosting the saturation to a gazillion. All of my edits are made in an effort to remove distractions without compromising scientific accuracy.
Q: Do you use AI to create your photos?
A: No. All of my photos are of real organisms, photographed with a real camera, and edited by a real person.
Q: How do you find such small things?
A: I've always had a tendency to keep my eyes on the ground. It may not be the best for social situations, but it's quite advantageous when it comes to searching for tiny treasures on the forest floor. Knowing where and when to look for certain subjects is often crucial, so I spend a lot of time researching the species on my wishlist. I also pre-visualize my intended subjects, which helps them to stand out if they should enter my field of vision. When I think I'm in the right area, I get down on the ground and examine my surroundings, often with an illuminated magnifying glass.
Q: Do you chill and pose, or otherwise harm or harass any wildlife?
A: I have never chilled and posed anything. I routinely shoo away mosquitoes and ticks, but otherwise do my best not to harm any creatures. My very presence in nature probably puts many animals on edge. I try to keep that in mind, and I walk away when I can tell that an animal is clearly stressed out.
Q: Are you absolutely positive about all your identifications?
A: No. However, I do spend considerable time researching my subjects, both before and after photographing them. I often base my identifications on features that may not be evident in these pictures, such as host plant, habitat, seasonality, nearby specimens, details that are not visible at web resolution, and additional photos I have taken for reference that are not worthy of publication. I consult multiple guides, keys, and experts, and only arrive at an identification if I am reasonably confident. Please note that some species can only be differentiated by microscopy or DNA sequencing. In those cases, I sometimes default to the most likely choice or the catchall name for the species complex; even if the exact identity is not known for certain, my photo can still serve as a plausible representation of the species. With all that being said, please let me know if you feel that any of my identifications are clearly incorrect. =)
Q: Will you photograph my pet/family/wedding/bar mitzvah?
A: Not unless you are a close friend or family member. And even in those cases, you'd probably be better off hiring someone who specializes in what you need.
Q: Can you identify a bug I found in my house from this cellphone photo?
A: Probably not. BugGuide and iNaturalist are good places to start.
Q: Can I write a guest blog post for you?
A: No, thank you. My blog posts recount my personal experiences in the field and therefore cannot be written by anyone else.
Q: Can I use your photo as a reference for my art?
A: Please contact me prior to referencing my photos for any commercial work. This includes paintings, illustrations, sculptures, or any other art that you plan to sell, publish, or exhibit publicly. However, you are welcome to use my photo as a reference for personal, non-commercial purposes free of charge. For example, it is fine to paint a picture to hang in your own bedroom. I would love to see a photo when it's done!
Q: Are you the same Timothy Boomer as...?
A: I'm not going to write the specifics here because I don't want search engines to associate this website with the wrong person. There are a couple of different Timothy Boomers who have made unpleasant headlines over the years. I have never met them, and I am not related to them to the best of my knowledge. If you see my name in the newspaper and it doesn't have something to do with nature photography, it's probably someone else.
Q: Will unfathomable riches from a recently deceased foreign prince entice you to pay advance fees in order to receive said riches?
A: Sure, please arrange it with my accountants here.
All images copyright Timothy Boomer. All rights reserved worldwide.