ETHICS IN MACRO AND NATURE PHOTOGRAPHY

Francisco López-Machado

Biologist and Nature Photographer

A BIT OF CONTEXT ABOUT ETHICS

Ethics, at its core, is a branch of philosophy that studies the principles governing our decisions and behaviors, guiding us on what is morally right or wrong. It is a set of values and norms that serve as a compass for our conduct in society, influencing not only how we interact with one another but also how we relate to the world around us.

In human affairs, ethics plays a role in every aspect of our lives, from daily decisions to how we carry out our professions. It urges us to reflect on our actions and their consequences, fostering harmonious and respectful coexistence—both with other people and with our natural surroundings.

When we apply these ethical principles to the field of nature photography, we encounter a discipline where our choices can have a profound impact on ecosystems and the creatures we aim to capture in our images. Ethics in nature photography challenges us to examine how our photographic practices affect living beings and the environment, and how we can conduct our work more responsibly, ensuring the protection and preservation of the very beauty we seek to document.

This ethical responsibility becomes a guiding compass, not only in how and where we take our photographs but also in why we do so. It leads us to consider the significance of the stories we wish to tell through our images and the legacy we hope to leave for future generations. In this sense, ethics becomes an essential component of nature photography, ensuring that our work stands as a testament of respect and admiration for the natural world.

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ETHICS IN MACRO AND NATURE PHOTOGRAPHY 

To dive into the subject, today I want to bring up a very important topic, one that has become even more relevant in these times when social media is flooded with incredible photographs that are not always what they seem: ethics in nature photography. As a biologist, entomologist, science communicator, and nature photographer, with 15 years dedicated to macro photography and 3 years to bird photography, I have had to confront the question of ethics in our work and the responsibility we must uphold when we are in the field, searching for the best photographs for our stories and projects.

What I will share here is my personal perspective as a biologist and a contribution for all of us dedicated to this beautiful field of photography. It serves as an opportunity to reflect on whether we are doing things the right way and to help both experienced photographers and newcomers understand the importance of good practices.

Often, we find ourselves searching for the best way to capture the image we have envisioned. This can lead to frustration when we realize that achieving it naturally may not be possible without manipulating the subjects in some way. The temptation is strong, especially when social media is filled with breathtaking images whose methods of capture remain unknown. Unfortunately, many photographers exemplify this issue. However, the fact that others do it should not be reason enough for us to follow the same path.

When I was starting out, back in 2010, I used to share my photos on a photography forum. No matter how hard I tried, I could never achieve the same level of images that other photographers were posting. Over time, I began to understand that the techniques used to create those photographs were far from what one could achieve in natural, uncontrolled conditions. This issue, already delicate, became even more problematic due to one key detail: these photographers insisted that their images were 100% natural! This is where professional ethics plays a crucial role.

It is not right to deceive other photographers with staged and manipulated photos, making them believe that they are purely the result of a keen eye and a perfect sense of timing, combined with almost superhuman skills to find idyllic backgrounds where insects or other animals appear in unnatural poses, performing feats that, as a biologist, I know, are impossible to observe naturally. This can lead many novice photographers to frustration and, inevitably, to do the same thing, even if that was never their original intent.

Next, I will share some key points that I have gathered from my personal experience, as well as from colleagues who are deeply concerned about this issue and with whom I share a similar perspective.

Figure 1. A typical workday as a macro photographer in the field.

BASIC RULES FOR RESPONSIBLE MACRO AND NATURE PHOTOGRAPHY.

1. Interfering with the behavior of specimens: This includes, for example, manipulating subjects that are engaged in capturing prey for food. In nature, obtaining food such as catching prey, can be extremely challenging for many living beings. If we interfere with their hunting or feeding routine just to take a photograph, we are clearly harming the creature. Many animals eat only once every several days. Keep in mind that by touching or manipulating them, they may abandon their prey due to stress, losing all the effort invested in obtaining this vital resource. As a result, they could take a long time to find another opportunity to feed (Figure 2).

Figure 2. To capture this image of a lynx spider (Peucetia sp.) with its prey, it was necessary to approach slowly and carefully observe its behavior to determine the safest distance. This ensured that the spider would not abandon its meal in an attempt to escape.

2. Handling Specimens by Hand: As an entomologist, I can assure you that it takes years of training to apply the right amount of force when handling any arthropod without causing harm or even death. Therefore, it is highly inadvisable to try to handle them with your hands or any other object, as the likelihood of causing irreparable damage to these small creatures is very high.

A better approach is to observe the habits and behaviors of our subjects until we learn how to get close to them without disturbing them. Additionally, we must remember that some insects and vertebrates can be venomous, potentially causing injury or even posing a serious risk to our lives (figure 3)

Figure 3. To photograph this Bothriechis schlegelii snake, I had the guidance of an expert in handling venomous reptiles. The photograph was taken following their instructions to ensure safety and avoid the risk of being bitten.

3. Relocating Specimens

It is not ethical to move specimens to unnatural environments (such as a studio) just to achieve better photograph. If, for unavoidable reasons, it becomes necessary to relocate a specimen, for example, to capture an essential image for research or documentation, it is crucial to return it to its original habitat as soon as the necessary photographs have been taken.

Failing to do so can result in the specimen’s death, especially for those species that rely closely on their host plants for survival. The only exception to this rule is when the work is conducted for scientific purposes, with proper justification and the required permits from environmental authorities for collection and relocation.

Figure 4. This photograph of a Phanaeus hermes specimen was taken using the focus stacking technique, which is primarily used for entomological collection specimens. In this case, the individual was not sacrificed for the photograph, as it was already part of an entomological collection.

4. Exposing Specimens to Unnatural Environments

Some photographers prefer to take their pictures in controlled artificial settings to achieve a unique shot. However, this practice causes significant stress and can even harm the specimens. Additionally, artificial scenes can be misleading for new photographers, making them believe that such scenarios occur naturally in the wild. This technique is commonly used in nature documentaries for educational channels, and it is always advisable to research and understand how these images were captured. Some common unethical practices include:

• Artificially placing two or more subjects together to create a staged interaction.

• Forcing specimens into unnatural postures, sometimes using thin wires or threads to manipulate them like puppets, which are later removed in Photoshop.

• Fixing specimens in place with adhesives or tying them down to prevent movement.

• Refrigerating specimens to slow their activity, a highly questionable practice due to the stress it causes and the risk of killing the specimen.

5. Appreciating All Forms of Life, Regardless of Their Size or Abundance

The fact that an insect, bird, spider, or any other creature is common to us does not mean it is unworthy of respect. What may seem ordinary to us might be of great scientific interest or entirely unique in another part of the world. The same applies to small species, every living being has the right to exist. The fundamental rule should always be not to kill or harm a specimen for the sake of a photograph.

Figure 5. A small fire ant from the Solenopsis genus searching for extrafloral nectaries on a Stachytarpheta jamaicensis plant. Even these tiny creatures have a story to tell and play a crucial role in the environment. There is no reason to overlook their importance.

6. Knowing When Enough is Enough: Sometimes, we become so focused on pursuing a specimen (even without physically manipulating it) that we may cause significant stress and temporarily disrupt its natural behavior. Keeping this in mind, we must be aware of when it is time to stop and allow our photographic subject to rest. This point is even more relevant when using flash intensively.

Figure 6. To capture this close-up of an Anolis ventrimaculatus, I had to approach very slowly and take a couple of shots before achieving the final composition. It would have been possible to get even closer, but it was already evident that the lizard was uncomfortable with the situation, so I chose not to move any closer.

Final Considerations and Additional Recommendations

These recommendations come from my personal experience, and my intention is not to generate controversy but rather to call for ethical and responsible behavior when approaching nature through photography. The end does not always justify the means, and we must remember that accumulating hundreds of “Likes” does not necessarily make us better photographers. Social media is merely a platform to showcase our work, but just as it can help us gain a good reputation, it can also easily destroy it. Once a deception is exposed, criticism will be swift, and our work will remain forever in doubt.

Additional Recommendations

1.    Minimize Environmental Impact: We must strive to intervene as little as possible in the environments where we take our photos. It is not advisable to cut branches and shrubs indiscriminately to clear a path through a forest. Even seemingly minor actions, like removing a twig or a few leaves to improve a shot, can have negative consequences for insects or other arthropods. Exposing them to predators unnecessarily is not a good idea. This is where personal judgment should come into play—hopefully, good judgment!

2.    Sharing Photos of Rare or Endangered Species: While it may seem trivial, unethical individuals may use information from photographs to locate exotic species that end up in the illegal wildlife trade. It is crucial to avoid sharing the exact geographic locations of photographed specimens unless absolutely necessary. In such cases, ensure that the information is shared only with trusted individuals or organizations that genuinely require it.

3.    Discretion and Safety: In line with the previous point, it is not a good idea to boast about the expensive photography equipment we use or publicly disclose the locations we frequently visit. Such information can be valuable to thieves. We should restrict these details to those who have a legitimate interest in them.

4.    Trash and Waste: As obvious as it may seem, we should never leave trash or waste behind during our photography outings. Ideally, we should leave only footprints—and even those should be minimal. It is important that others who visit the same locations find them in pristine condition, without any traces of human activity. (This principle also applies to the first point).

Photography in Groups:

• As a rule, the person who spots the specimen first has priority to photograph it. This is a basic rule of conduct that should be respected.

• When photographing in a group, there should always be an organized order, and no one should monopolize the specimen. Everyone deserves a chance to take their shot. If necessary, establish a second round of photos so that all participants get at least one opportunity before the specimen becomes stressed and leaves.

• When someone is taking photos, we should avoid disturbing them, stepping into their line of sight, casting shadows, or making sudden movements that could scare the subject away. The best approach is to maintain a respectful distance and wait patiently. This way, everyone will get their chance.

A Final Reflection: Commitment to Non-Interference

Today, I invite you to commit to practicing and promoting a style of photography that respects the autonomy of living beings. We must recognize that our presence in their habitat is already an intrusion. I encourage fellow photographers, both experienced and beginners, to adopt methods that minimize our impact on nature. By doing so, we help ensure that future generations will also have the opportunity to marvel at its unspoiled beauty.

Francisco López-Machado

Biologist and Nature Photographer

Cali, Colombia