How to Capture Better Macro Wildlife Photographs

Close-up macro photography of two insects. The left image shows the detailed head of a vibrant green beetle with prominent eyes and mandibles. The right image captures a cicada, displaying its translucent green wings and intricate body markings against a dark background.

Macro Photographer Ben Salb is an OM SYSTEM Ambassador whose passion for photography lies in the small details of the natural world. The Maryland-based photographer specializes in high magnification insect and spider photography, often finding his subjects close to home in the lush woods of the United States’ eastern coast.


Full disclosure: This article was brought to you by OM SYSTEM Cameras


At a Glance

Photographer Ben Salb did not grow up around photography. However, when his sister became a successful wedding and portrait photographer, Salb took an interest in her new career. “Before I joined the United States Navy, I came to appreciate how my sister was able to find these incredible details in her wedding and portrait photography,” Salb tells PetaPixel. “As a detail oriented person, I was fascinated at how the camera became a tool to see those small details hidden in the bigger picture.”

Close-up shot of a dragonfly's face, emphasizing its large, vibrant blue-green eyes and fine hair-like structures on its head. The details of its intricate mouthparts and segmented body parts are sharply visible, set against a dark, blurred background.
Damselfly. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/10, ISO 200. Focus Bracketed.

After using an entry level DSLR to document his travels in the Navy, Salb returned home shortly before the Covid-19 pandemic shut down much of the world. “There was nowhere to go, and nothing to photograph,” he says. “Like most people, I started to get a bit stir crazy, so I unpacked some old macro photography extension tubes that I had. I just started walking around my backyard and was enthralled by the scenes and the details that laid mostly out of sight. I was addicted right away.”

Close-up macro photograph of a dragonfly's face. The insect features large, multi-faceted eyes, short antennae, and detailed, textured exoskeleton. It clutches onto a green leaf with its legs, while the background is a clear blue sky.
Freshly emerged (teneral) Damselfly. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/10, ISO 200. Focus Bracketed.

While Salb started photographing flowers, he quickly gravitated towards the living macro world. “The flowers gave me some great practice for getting comfortable with macro photography, however, I really fell in love with photographing bugs and spiders,” he explains. “To me, insects and spiders were more challenging, and rewarding, subjects.”

Extreme close-up of a wasp's face, showcasing its compound eyes, mandibles, and intricate textures. The image highlights the sharp details of its reddish-brown exoskeleton, antennae, and fine facial hairs, set against a dark background.
Paper Wasp. OM-1 + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

Within a year of starting his macro photography journey, Salb had made virtual friends with many of his peers. “For me, the community that I found, almost instantly, inspired me to photograph even more. We would share images and stories with each other, and at the time when the world was shut down, it was great to make new friends who I had something in common with.”

Close-up macro image of a spider's face, showing intricate details of its multiple eyes, fangs, and hairy texture. The spider has prominent black and yellow hairs around its eyes and mouthparts, creating a striking, almost symmetrical appearance.
Wolf Spider. OM-1 + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

One thing that he immediately noticed about his peers was that many of them were photographing with Olympus camera systems (now OM SYSTEM). “They were talking about focus bracketing and greater perceived magnification, so I decided to give it a try with a used EM-1 Mark II and M.Zuiko ED 60mm f2.8 Macro. I noticed a massive increase in success rate and ease of use for macro photography and from that day on, I have never looked back.”

Close-up photograph of a fly's face with large, orange compound eyes, short antennae, and fine hairs covering its body. The image showcases intricate details of the fly's eyes and facial structure against a pale blue background.
Gnat ogre (small species of robber fly). OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

Even though his macro photography career is young, Salb has attracted the attention of photography brands and media publications. He is an OM SYSTEM Ambassador and has had his living invertebrate portraits appear in publications such as Smithsonian Magazine, Amateur Photographer, Forbes, and The Guardian. He shares with PetaPixel his favorite tips that will help photographers take better macro photographs of insects and bugs.

Find Macro Wildlife During Periods of Inactivity

For Salb, this is one of the most important aspects of being a macro wildlife photographer, especially as it relates to ethics. “Ethically, you cannot make a subject stay still,” Salb explains. “In the past, before photography equipment was as powerful as it is today, it was much harder to get macro photographs of wildlife. This meant that some photographers would even kill or freeze their subjects in order to photograph them.”

Close-up shot of a frog's eye showcasing intricate details. The eye is large and round with a glossy black pupil surrounded by a marbled pattern of gold, brown, and green hues. The surrounding skin has a wet, textured appearance.
Green Frog’s Eye. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

Instead, Salb relies on a subject’s period of inactivity. “Early in the morning or shortly after sunset are my best times for macro wildlife photography,” he says. “Before and after sunrise, most insects and bugs are in a very lethargic state. Their biology doesn’t allow them to just hop out of bed like we do. Their bodies need time to warm up and wake up. Capturing subjects at this time makes it possible to take your time with them. This allows you to find the composition that you want and you could even add some leaves to the foreground or background to make the scene more dramatic.”

Extreme close-up of a fluffy fly's face, showcasing large, multi-faceted compound eyes, detailed antennae, and numerous fine hairs around its central dark proboscis. The background is black, highlighting the intricate textures and structures of the insect.
Robber Fly. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

Salb explains that photographing bugs and insects in their sleep state also allows you to perform longer photography operations. “These colder, quieter times of day are when I am usually using my OM-1 Mark II for high frame focus brackets, sometimes over 150 frames. But it also opens the door for other features like High Res Shot Mode.”

Close-up image of a frog with smooth, shiny skin, reflecting light. The frog's eyes are prominent, appearing glassy and black, with star-like light reflections on its head, giving it a mystical, ethereal appearance. The background is blurred out of focus.
Woodland Salamander. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/40 second, f/10, ISO 200. Focus Bracketed.

In the OM-1 Mark II’s High Res Shot Mode, the camera’s sensor is shifted in half pixel increments, over multiple exposures, and then combined in camera into a single high resolution image, with less noise, greater dynamic range and color information.

Close-up view of a spider with detailed focus on its eyes, fangs, and hair-covered legs, perched on what seems to be a fuzzy, textured nest or a web. The spider's body features intricate patterns and colors, highlighting its natural texture and features.
Fishing Spider with egg sac. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

In addition to High Res Shot Mode, Salb takes explains that you can take advantage of a subject’s still demeanor to try the Focus Stacking feature. With focus stacking, OM SYSTEM cameras will shoot a set number of photos at the selected focus differential and then merge them into one jpeg file at full resolution. Salb usually captures more than the 15 frames Focus Stacking on the OM-1 MKII allows, but it’s a great feature for those looking to get more depth of field without having to process the images in post.

A close-up shot of a small fly with red eyes resting on the surface of a larger animal's eye. The larger eye has a circular black pupil and mottled brown, yellow, and black tones, indicating it might belong to a reptile or amphibian. The scene is detailed and sharp.
Fly on a snapping turtle’s eye. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/10, ISO 200. Single Shot.

Salb says that if you have limited time and can’t photograph bugs and insects during the early morning and evenings, he still recommends getting outside and looking. “While my chances to use focus bracketing and some of the camera’s other features are more limited in the middle of the day, I still often find a lot of subjects to photograph. However, most of my shots during that time are single shot exposures. Doing simple single shots allows me to photograph the subject in that brief window before it might fly or jump away.”

Use a Headlamp or Flashlight

Being that Salb says the best time to start looking for insects and bugs to photograph is when it is still dark, a headlamp or flashlight is critical to finding the best subjects. “For me, a light makes me really focus on the one spot that I have the light trained on,” he describes. “During daylight hours, your eyes and your brain are so overwhelmed with objects to look at, it’s easy to miss something small that is right in front of you. When it’s dark and you use a light, however, it forces your brain to really look at the illuminated area.”

Extreme close-up of a spider's face showing its numerous eyes, detailed fur, and mouthparts. The intricate pattern of its hairy texture and vivid eyes are prominently displayed, highlighting the spider's intricate features and natural design.
Dark Fishing Spider. OM-1 Mark + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

Salb goes on to describe that a light will also create silhouettes of bugs and insects that might usually camouflage themselves with their surroundings. “I can’t count how many subjects I have found by seeing their silhouette first,” he describes. “Sometimes you will just see a black figure that has a distinct shape. You might not know what it is at first, but once you investigate, you will see that the silhouette test works much more often than you might think.”

Close-up image of a spider with a detailed view of its hairy head, multiple eyes, and front legs positioned on a twig. The background is black, emphasizing the intricate textures and coloration of the spider's body and legs.
Spider in the genus Ocrepeira (species unsure). OM-1 Mark + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

The photographer describes one species that the flashlight is ideal for finding: arachnids. “I have been able to spot wolf spiders from 40 or more yards away with my trusty headlamp. It’s pretty incredible how much they glimmer in a beam of light.”

Know the Difference Between a Good or Bad Macro Opportunity

Just because you find an interesting macro wildlife subject doesn’t mean that it’s worth photographing, Salb says. “When I first started photographing macro subjects, I would chase anything that I could see. Usually, that was during the day, so there was a lot to chase. Like I said before, if you are just after quick, single shot exposures, then you might get lucky. However, for the most detailed macro wildlife photos, you really need to be using a focus bracketing method. The simple fact is that most insects, bugs, and arachnids are not on a flat plane. This means that there is a distance between the front of the animal and the back. Even if you just want to get the animal’s face in focus, the incredible shallow depth of field that macro photography generates makes that difficult.”

Close-up image of a black insect's face, showcasing large, textured compound eyes, intricate mouthparts, and fine hairs on the head. The insect is covered in tiny water droplets and set against a vivid yellow background.
Gold-Marked Thread-Waisted Wasp. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

With OM SYSTEM camera’s built in focus stacking software, the photographer does not need to use a third party program in post-processing to stack the images, as up to 15 images will be automatically stacked in camera. The photographer does have the option to generate even more photos that cover a deeper field of focus using the built-in Focus Bracketing tool, however, they will need to use a third-party software such as Adobe Photoshop to stack the images.

Wolf Spider Focus Bracketed.

Salb continues to explain that even taking higher magnification photos, where the lens is closer to the subject, can prove troublesome with an active subject. “Even when shooting in the dark, you can get subjects that are highly active,” he describes. “Photographing at night or in the early morning isn’t a guaranteed recipe for success, however, it will maximize your chances of getting inactive subjects. So when you do get an active subject in the prime shooting window, it is important to recognize that your time might be better suited searching for a less active subject.”

Close-up of a yellow and black wasp's face, showcasing intricate details such as its compound eyes, antennae, and mouthparts. The high magnification reveals the texture of its exoskeleton and fine hairs near its mouth. The background is black, highlighting the wasp.
European Paper Wasp. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

Even if they appear still, active ladybugs will often move their antennas constantly. “While it seems miniscule, it simply will not work if you are trying to focus bracket or stack images. The moving antenna causes slight movements throughout the ladybug’s face and body, making it near impossible to merge the images together.”

Close-up macro photograph of a ladybug perched on a green stem against a purple background. The image shows intricate details of the ladybug's red and black spotted shell, antennae, and legs, with water droplets adorning its back.
Ladybug. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/10, ISO 200. Focus Bracketed.

Salb explains that if a photographer is out to capture a high percentage of usable photos, macro wildlife photography is not the genre to practice. “Even with all of the years of experience that I have, my ‘keep’ rate of photos is still pretty low. This type of photography is not easy, and it takes a lot of practice, patience, and luck. With an already low ‘keep’ rate, why would I waste time on a subject that isn’t completely inactive? The secret to capturing dynamic macro wildlife photos is to increase the amount of encounters you have with inactive subjects”

The Closer You Get, the More Light You Need

Salb explains that the simple physics of increasing magnification with macro photography, the more light you will need. “This is the reason that I moved away from natural light macro photography pretty early on,” he explains. “At this magnification, especially in challenging light environments, using supplemental lighting is critical.”

Extreme close-up of a bee's face covered in pollen. The image shows the intricate details of the bee's black eyes, antennae, and fuzzy hairs, with yellow petals from a flower partially visible. The background is a soft yellow, highlighting the bee's features.
Bumblebee. OM-1 + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

Not any supplemental light will do, however, Salb says. “It cannot just be any bright light, because bright light will create a high contrast image, which can look extremely ‘crunchy.’ The light needs to be diffused, which will create a soft, evenly lit look on your subject.”

He describes that the process of finding your macro lighting setup is a fun and rewarding process. And sometimes, the best solutions are also the least expensive. “I know some very highly respected macro photographers who just use a piece of printer paper to diffuse their flash, and they get incredible results.”

Close-up of a vibrant green butterfly chrysalis with a smooth, segmented surface. Its shape is somewhat angular with small bumps and markings, including white and brown patches, against a dark background.
Skiff moth Caterpillar. OM-1 + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

“It wasn’t until I figured out that soft light is the key to a good macro photo that I felt I made it to the next level. It takes a lot of trial and error to find the setup that works for you, however, it’s a pretty fun and exciting process.”

Image Stabilization is a Macro Photographer’s Best Friend

Photography technology has made countless advancements over the decades, however, the most impressive might be in-camera image stabilization. The OM-1 Mark II has up to 8.5EV steps of image stabilization via an in-body 5-axis image stabilizer. This stabilization is so powerful, that it even works with the in-camera conceptual photography features, such as focus stacking.

A close-up image of a large spider with a patterned abdomen, resting on an intricate web. The spider's body has a mix of brown and golden hues with white markings, and its legs are hairy with distinct bands. The background is black, highlighting the spider and its web.
Red-Femured Spotted Orbweaver. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/10, ISO 200. Focus Bracketed.

“The term ‘game-changer’ gets thrown around a lot these days, but if there is one thing that I can say with absolute certainty is a game-changer, it’s the OM SYSTEM image stabilization,” Salb describes. “Carrying a heavy tripod around the woods while looking for tiny bugs and insects does not sound fun, and even if it wasn’t that bad, it takes a lot of time to set up, which goes against my goal of creating as many photography opportunities with as many subjects as I can in the limited time that I have.”

As Salb has described, learning how to focus stack, whether in the OM SYSTEM camera body or using third party software, is critical to capturing dynamic images of macro wildlife. “The fact that I can focus stack a tiny insect with my M.Zuiko Digital ED 90mm F3.5 Macro IS PRO, in the dark, without a tripod, is incredible,” he exclaims. “I can say with full confidence, most of the images in my portfolio or on my Instagram could never have been captured without this incredible image stabilization.”

A close-up of a green cicada with translucent wings, perched on a dark, textured surface. The intricate wing patterns and vibrant green hues of the cicada contrast sharply with the dark background.
Emerging Cicada. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/3.5, ISO 400. Focus Bracketed

“With the type of photography that I do, you have to be quick and mobile,” he concludes. “You don’t have a lot of time when the opportunities present themselves, so you have to be able to shoot on the fly, adjust on the fly, and change your composition on the fly. The last thing you want to have to worry about is stabilizing yourself, and luckily for us, in this day and age, we have these incredible camera systems that do all the hard work of stabilizing for us.”

With Focus Bracketing, Less Can be More

When Salb began his macro photography journey, he tended to avoid focus bracketing and stacking due to the complexity of the processing. “I would often try to stack 30 or 40 images, and I wasn’t very proficient in the editing tools, so everything needed to line up absolutely perfectly for me to get a usable focus stacked image,” he says. “Not to mention the amount of time that the process would take. Quite simply: it wasn’t fun, so I found myself avoiding it, and my growth as a macro wildlife photographer suffered because of it.”

A close-up image of a spiny orb-weaver spider, featuring a distinctive white, spiky abdomen with black spots. The spider has a reddish-brown body and legs, standing on a textured surface, showcasing intricate details and colors.
Spined Micrathena Spider. OM-1+ M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

As Salb describes, the higher the magnification (or the closer the lens is to the subject), the more frames are needed to cover the subject, since the depth of field is more shallow at higher magnification. With that, the more frames that are needed, the more editing needs to be done.

“That isn’t just because there are more photos that you need to manually stack,” Salb explains, “it’s because being in that close, there are a lot of intersecting details. It could be a hair in front of an eye, or just general artifacts and ghosting that occurs at that high magnification. I found that capturing more images led to countless spent hours editing, and the end result was usually the same as if I had backed off a bit, taken less photos for the focus bracketing, and cropped in a bit in post.”

Close-up image of a wolf spider with numerous tiny spiderlings on its back. The spider's multiple eyes and hairy texture are prominently visible, and the spiderlings create a dense, clustered appearance on top of the adult spider.
Wolf Spider. OM-1 + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/60 second, f/10, ISO 200. Focus Bracketed.

Salb goes on to explain this is the main reason why many macro wildlife photographers leave the hard work of focus stacking to their OM SYSTEM OM-1 Mark II cameras. “I have found that, in many situations, some of my peers do not need to focus stack more than 15 images. They tell me that changing their mindset has led to an increase of their success rate, as sometimes too much detail does not translate well in the macro wildlife photography world.”

Close-up of a brightly colored caterpillar on a green leaf. The caterpillar has a purplish-brown body with a vivid green stripe and several clusters of long, sharp, black and red spines protruding from its body, creating a striking and intimidating appearance.
Saddleback Caterpillar. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

Salb credits the sharpness of the M.Zuiko Digital ED 90mm F3.5 Macro IS PRO with this recent change in his workflow. “That lens is so tack sharp, I have found that even if you aren’t all the way into the highest magnification possible, the detail that it captures is so immense, you really don’t feel like you are losing any image quality or details.”

A Background Card Can Be More Than Just a Pop of Color

Salb describes that, even when shooting with flash in the daytime, the background behind the macro subject can appear dark, if not outright black. “While this is fine for the most part, I like to experiment with my style by adding a colored background,” he says. “Imagine if you were shooting a model in a studio, and you had them against a black background. Sure, that is totally fine, but sometimes using a backdrop of a complimentary color can really make the model pop off the screen. The same applies to insects and bugs. Usually, the macro wildlife is very colorful, so experimenting with different background colors is a lot of fun, but it can also set your work apart from your peers.

Extreme close-up of a small insect with vivid, green compound eyes. The eyes display a honeycomb-like pattern. The insect's face is covered in fine, light-colored hair, and the background is a soft, blurred green.
Robber Fly. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/9, ISO 200. Focus Bracketed.

Salb describes that, while he actually uses a dedicated set of colored cards attached to a stick, he has seen some photographers use other items, such as a piece of cloth or a t-shirt.

Close-up image of a green insect with a triangular head, facing forward. The insect has distinct striped eyes and detailed textures on its body, set against a blue background.
Buffalo Treehopper. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/10, ISO 200. Focus Bracketed.

What surprised Salb the most about his addition of colored background cards to his macro photography, was the extra light that it created. “What I found is that the light from my flash bounces off of the background card, and then back to my diffuser, before bouncing back to the card. This bouncing created a nice lighting effect that would help illuminate the subject from all angles, giving me a better overall image. So if I ever feel that I am not getting the light right on a subject, I will add a background card to the scene.”

Most of the Effort in Macro Wildlife Photography is in Post-Processing

“This isn’t easy,” Salb explains in closing. “There is so much to learn about how to find the subjects in the field, and then there is so much to learn about how to properly capture the subjects in the field. But all of that effort still doesn’t add up to the sheer amount of time that post-processing macro wildlife photos takes.”

Close-up image of a bizarre-looking insect, likely a treehopper, perched on a green stem. The insect has a dark, textured body with yellow spots and a distinctive, elongated curved horn-like structure on its back. The background is a soft, uniform green.
Two-Marked Treehopper. OM-1 Mark II + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/10, ISO 200. Focus Bracketed.

Salb describes that, when you are working with incredibly colorful and textured bugs, insects, and arachnoids there are so many details that can be cleaned up. “I can’t even tell you how many hours I have worked with hair and fur in my career,” he laments. “I worked on a photo of a robber fly recently, which I was creating from 130 stacked images. Once I ran the frames through a software program called Helicon Focus, I realized that much of the fly’s hairs were lost in the stacking process. I just couldn’t let it go, because I knew there were hairs on this fly that were now missing. So I spent an additional two hours at 800% view in Photoshop putting the hairs back into the frame. Truth be told, no one will ever notice these small missing details, however I had to do it, just so I knew I gave it my best effort, and I am sharing an image that is as close to accurate as possible.”

Close-up image of a vibrant metallic green beetle's face, showcasing detailed textures and colors. The beetle has large, compound eyes and a prominent mouthpart with sharp mandibles. Fine hairs and intricate patterns are visible on its head and body.
Six-Spotted Tiger Beetle. OM-1 + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

For Salb, macro wildlife photography is a labor of love. “I love this type of photography because I love to be able to showcase these invertebrates in a way that no one has really seen before. That may sound egotistical, but in all honesty, it’s the truth. There are millions of species of bugs, insects, and arachnoids out there. Some have barely been studied, let alone really visually documented at a macro level. Us macro wildlife photographers are giving a face and a personality to these species, that, honestly, a lot of the world’s population is fearful of. To be able to tell their stories, and to educate people about the important roles that these animals play in our ecosystem, makes all of the hard work and long hours worthwhile.”

Close-up of a praying mantis' face, showcasing its large, black, hemispherical eyes and intricate details of its green and yellow exoskeleton against a blurred, green background.
Chinese Mantis. OM-1 + M.Zuiko Digital ED 90mm F3.5 Macro IS PRO. 1/50 second, f/8, ISO 200. Focus Bracketed.

See more from Ben Salb on his website and Instagram.

Close-up of a spotted lanternfly perched on a branch against a black background. The insect has a striking appearance with vibrant pinkish-orange wings adorned with black spots and intricate veining, while its black legs and head present a sharp contrast.


Full disclosure: This article was brought to you by OM SYSTEM Cameras


em>Image credits: All photos by Ben Salb

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