Paul V Harrison on capturing nature’s details through macro photography

From the delicate shimmer of a beetle’s shell to the kaleidoscopic patterns of a peacock spider, macro photographer Paul V Harrison uncovers the extraordinary beauty hidden in the tiniest corners of the natural world. Based in Western Australia, Paul combines scientific precision with artistic curiosity to capture images that reveal what the naked eye often misses. In this interview, he shares how he first got started, what draws him to photographing spiders, and how Affinity plays a key role in his post-processing workflow.

Paul, tell us a bit about yourself and your photography journey so far.

I’m originally from Lancashire in the United Kingdom but currently live in Perth, Western Australia. I’ve always had an interest in photography; my first camera was a second-hand Kodak Retinette, and I later moved on to Pentax film cameras.

Until university I was pretty keen on photography, but then working life got in the way, and I was content to take “record shots” of people and places. I have a scientific background in geology and geophysics and have been very fortunate to live and work across many areas of the world over the last 30+ years.

In the last few years, I’ve had more time to really develop my skills and, when I was made redundant in 2019, I used the opportunity to devote even more time to my photography. Perth has a very active and skilled photography scene, and I’ve been able to learn from experts in various fields of the art.

What led you into the world of macro photography?

As a kid, I grew up watching David Attenborough’s Life on Earth and have always been fascinated by nature and the outdoors. My first attempts at macro photography were with a Pentax ME Super using a 50mm lens on a reversing ring and a small handheld flash.

Shooting on Fuji slide film meant there was no chance to critique the shots the way we can today with digital technology; instead, I wrote down the settings in a notebook so I could work out the best options for future attempts. Needless to say, most photos were a failure, but it never dampened my enthusiasm for trying.

Macro and astrophotography are probably my favourite areas, but I enjoy most kinds of photography, from studio shoots to street and travel.

There’s always something new to learn. Lighting a portrait in a studio isn’t that different from capturing an environmental shot of a spider, so I’m constantly looking for those crossovers that can take my photography to the next level.

Photography also gives me more excuses to travel and visit places that might not otherwise have been on my list. I was very fortunate to visit India in early 2020 for the Holi Festival in Vrindavan. Three days of shooting portraits in dark temples while water and coloured dye flew everywhere wasn’t initially my idea of an ideal experience, but I absolutely loved it and will definitely be travelling back to India.

What makes spiders such an interesting subject for you to photograph?

I only discovered Peacock spiders in 2016. I was shooting a flower in a local park in Perth when something small and red moved across the frame. I grabbed a couple of shots and then used the power of the internet to find out that it was a Maratus clupeatus.

These tiny (typically 2–5mm) jumping spiders are simply amazing. They have excellent eyesight, which they use for hunting prey, so they are very aware of your presence and will watch as you try to get into position to photograph them. During breeding season, the males develop the most outrageous coloured plumage, and many species perform intricate dance moves to attract a female’s attention.

Their colours and eyes make them perfect subjects for macro photography, and new species are still being discovered across Australia. Western Australia in particular seems especially blessed with varieties, and they occur in many different habitats—from the tops of isolated mountains to the dunes behind beaches.

I’ve found several locations within a 15-minute drive of my house where I can photograph them in their natural settings, which is definitely part of the appeal. I love being able to share photos of these amazing creatures, and I hope that raising awareness will help protect these local pockets of biodiversity.

How do you go about capturing that perfect macro shot?

Firstly, be safe. It’s always a good idea to scan the area of bushland you’re about to walk into—not all of Australia’s reptiles make friendly household pets!

As with all photography, being familiar with your gear is important. One advantage of shooting with flash is that the settings don’t change much during a shoot, so you can focus on framing, minimising distractions in the background, and nailing the focus. I like to shoot with everything in manual, including focusing, so the shots can be easily focus-stacked later in Affinity.

I’d also encourage people to learn a little about their subject—what season is best, time of day, and typical habitats. Patience is often required, and a little bit of good luck doesn’t hurt either!

Finally, consider investing in some tuition. As photographers we’re often eager to spend money on new gear, but quite often it’s poor technique that actually holds back your photos.

What equipment do you currently use—for your macro photography in particular?

I’m currently shooting with a Canon 5D MkIV, and my go-to lens is the mighty Canon MP-E 65mm macro lens. I pair it with the Yongnuo YN24EX flash and some homemade diffusers. I also use a Sigma 105mm macro lens, which I find better suited for flora.

I started out with just the Sigma lens, which can get down to 1:1 magnification, and using extension tubes allowed me to get even closer. After a couple of seasons shooting with that setup, I felt ready to move on to the MP-E. This lens starts at 1:1, and I typically shoot handheld at 2:1 magnification or higher when photographing jumping spiders.

What settings would you recommend for those that are just starting out with macro photography?

Having a reasonable macro lens is a great start—many of them also double up as excellent portrait lenses, so it doesn’t need to be a specialist macro lens. I began by shooting flowers; they don’t move around as much as spiders! You can shoot without flash, but once you get into 1:1 shooting, some kind of additional lighting makes things much easier. You’ll also need to shoot at or just below your flash sync speed.

There are diffusers you can make at home that allow you to use a normal on-camera flash for macro work—I’d recommend searching YouTube for some DIY designs. I also bump the ISO slightly, to 160 or 200, so the flash unit doesn’t have to work as hard when shooting in burst mode.

Depth of field is the main technical challenge with macro—it is extremely small. I typically stop down to around f/7.1 to gain some depth of field while still maintaining sharpness. Learn to handhold and shoot in burst mode as you move into the subject—it’s trickier than it sounds, but if you can keep the focal planes parallel, they will stack more easily in post.

The focus stacking facility in Affinity allows you to adjust which images contribute to the stack, and some sets may require a bit of extra time to get this aspect right.

Sometimes the lack of depth of field can be used to great effect in a single shot to isolate a particular part of a flower or creature. Finally, don’t jump straight in and try to photograph the smallest subject you can find—there is incredible beauty in nature without having to shoot at 1:1 and beyond.

I post all of my settings for each shot on my Instagram account (@pvharrison), so you can always check there for suggestions.

What first drew you to Affinity, and how do you use it in your post-processing workflow for different types of photography?

I started using Affinity in May 2017 when I began taking my photography more seriously. I was initially drawn to it because it included focus stacking and used a one-time licence rather than a subscription. I worked my way through most of the YouTube tutorials and love the flexibility it gives me in post-processing.

For macro photography, post-processing is usually quite straightforward. I like to maintain natural colours but use selective dodge and burn to highlight the subject. The Inpainting Brush Tool always gets used to remove sensor dust from the final files—macro photography has a way of making that dust very visible!

I use many more of the program’s features when processing my landscapes and wide-field astrophotography images.

Have you got a particular happiest memory or experience in photography?

Shooting the Aurora Borealis in Iceland in 2018 was unforgettable. I was very fortunate to be there with the late, great Dale Sharpe and a small group of photographers. It was 3am, freezing cold, and we’d been up since before sunrise, but the sky was going crazy, and the energy in the group was off the charts. Every time I look at one of the photos from that night, it takes me straight back.

What’s your favourite shot to date and why?

That’s a hard question to answer, as I’m always looking ahead to the next shoot. However, last season I finally managed to capture a shot of a male Maratus azureus in full display mode. It had taken me a couple of years to get this shot, and I was absolutely thrilled.

I’d found a female on an isolated stick and was watching her location while tracking the male. I could see the shot might be on, so I got into position early and was ready to start shooting as he began displaying. The diffused flash nicely highlighted his colours against a minimalist dark background.

Is there a photo that’s not in your portfolio, but always brings you fond memories? If so, what’s the story behind it?

At the end of the day, the photos that resonate most with me are of close friends and family. They’re not usually the most technically accomplished, but they’re definitely the ones that mean the most. I have a black-and-white photo of my dad that I took in the English Lake District when I was still at university, and that remains one of my favourites.

If you could photograph anywhere in the world, where would you go and why?

There are too many to choose from. I’ve found that the more you travel, the more you want to see and experience. I would love to photograph in the Arctic, and although I’ve already been to Nepal three times (for any Gavin and Stacey fans out there), I’d love to return to the high Himalaya with the big camera.

That said, I firmly believe one of the keys to happiness is embracing what your current location can offer. In the meantime, I’ll be spending my free time chasing more Peacock spiders in the southwest of Western Australia and enjoying the fabulous dark skies we have here in WA.

What would you say the most rewarding and most challenging aspects of your work are?

Without doubt, the most rewarding part is running one-on-one tuition sessions to help others develop their photography skills, techniques, and vision. My childlike fascination with nature has never gone away, and it makes my day to see someone capture their first photo of a Peacock spider.

It’s always rewarding to be outside taking photos, even if you don’t always come away with something great. I’m at my happiest standing on a mountainside or knee-deep in the surf, waiting for the light to change.

As a lifelong scientist, I’m very comfortable with the physics and technical aspects of photography; my own challenge is to continue developing the artistic side of my work.

Explore more of Paul’s photography on his website and on Instagram at @pvharrison.