Lately, I’ve been using Adobe Camera Raw (ACR), Photoshop’s go-to RAW editor. Shooting RAW takes more disk space than my usual large super-fine JPEGs, but ACR gives you total control over tone, color, and detail without ever touching your pixels.

For my latest assignment, “A Day in the Life of…”, I picked a white basket fungus and built a six-shot story in black and white (something new to me and a bit of a challenge).

Along the way, I rediscovered that narrative framing matters just as much as macro detail.

Context sets the stage, process drives the plot, and discovery delivers the payoff.

Here’s what I did, how I did it, and how you can try for yourself.

Tip: Use a Radial Filter over your figure and boost Clarity there - you’ll subtly guide the eye without overdoing the forest floor.

Tip: After pulling back Whites and Highlights, switch on the Luminance Range Mask. Drag its sliders until the adjustment only hits the bright fungus, not the dark leaves around it.

Tip: Right-click the Curves layer and choose “Create Clipping Mask” so you only affect the areas you paint with your mask brush.

I’m hoping to gain inspiration from adopting a more photojournalistic approach, rather than remaining myopic and stuck at the plateau of simply focusing on stacking and producing macro shots, and instead become more narrative-driven.

The journey to discovery is just as exciting as finding a unique species.

Your Turn:

1. Shoot in RAW – even if it means bigger files, you’ll have way more editing freedom later.

2. Map your zones first – get your bright and dark areas roughly where you want them in the Basic panel before you dive into colors or curves.

3. Paint in your edits – use local tools (like the adjustment brush or the circular filter) to apply changes exactly where you need them.

4. Tell your story in order – start wide, move into the action, then finish with the details that matter most.

Give it a go and share the results (if you want). I’d love to see how you bring your own zone of creativity to life.

Also, as this is my first attempt, and I’m still learning, any critical feedback is much appreciated.

Since I get a lot of questions about how I photograph these, what camera or gear I use, I figured I’d take some time to walk through my process. This post is part behind-the-scenes and part gear breakdown, mainly so I can point people here the next time someone asks. Hopefully it’s useful.

Gear I Use

I shoot with an Olympus E-M5 Mark III and an M.Zuiko 60mm f/2.8 macro lens. I’ve had the camera for about three years now, the lens for almost five (it’s as good as gold!).

Occasionally, I’ll use a Raynox DCR-250 for added magnification, though that’s mostly reserved for slime molds.

I don’t have the budget to upgrade right now (though if I did, I’d probably go for the OM-1 and 90mm macro lens). But honestly, I’ve learned that getting the most out of what you already have matters more.

One piece of advice that stuck with me early on was: learn your camera. Sounds obvious, but letting those three words sink in really changed how I approached photography. That learning comes through trial, error, and a lot of bad shots that don’t make it to Instagram (or here).

Why This Camera Works for Me

The main reason I use this setup is the focus bracketing feature. It’s different from in-camera focus stacking.

The camera takes a series of shots at different focus points, and I stack them later using software. I used Helicon Focus for a while, then switched to Zerene (which I prefer).

Focus bracketing on OM System cameras lets you control the "differential"—basically, the distance between each focal slice. For tiny subjects, I usually set this to 1 (the narrowest).

Light Setup

I used to be a purist - only natural light, no flash, no extras, just what came through the canopy that day. But I’ve changed my approach. These days, I use a Godox TT520 II flash, a small LED cube (to fill in shadows), and a custom diffuser. Everything runs through CWB (custom white balance) set to 4800K, which pairs well with my specific diffuser.

Light takes some adjusting. I usually shoot test images and check the screen to see how the shadows and colors are coming through. If one side looks too dark, I’ll move the LED cube nearby and set it to 2–10% brightness depending on ambient light.

Because the flash needs time to recharge between shots, I set the bracketing interval to 2 seconds. Any faster, and I start getting dark frames when the flash misfires.

I also set the ISO to 200 or Low to reduce noise.

The Process

Most stacks consist of 25–75+ shots. When things go smoothly, the whole setup (from discovery to final image) takes about 5–10 minutes.

When I include my finger or a coin for scale, I usually shoot a single frame at a higher f-stop (f/7–f/9) with at least 1/20 sec shutter speed. For coins, I use whatever’s local, which has become a habit and I think a nice touch!

To reduce light halos or background clutter, I use a piece of black velvet or just put my backpack behind the subject.

And lastly, one bit of gear I can’t live without now: a macro clamp with a heavy magnetic base and two metal bendable arms. It holds twigs or leaves at the right angle so I’m not hunched over or trying to balance gear in weird positions.

That’s pretty much it. I'm always refining this process, and I don’t think it’s perfect (but it works for me). If you’ve got any more tips, I’m all ears! Feel free to share in the comments.

And if this helped or you want to support what I’m doing, consider becoming a paid subscriber. You’ll get a limited-edition mushroom print delivered to your inbox each month, access to interesting foray recaps, and help me slowly save toward that camera upgrade too ;)

And before I forget, if you’d like more photography tips, check out Macro Magic: Insider Tips for Subscribers.

Roridomyces is a species in Family Mycenaceae with a wide distribution found in both temperate and t…

Read more

If it’s your first time attempting to take photos of bioluminescent mushrooms, it can open up a whole new dimension of camera settings you never knew existed.

This can seem like a daunting task, but I hope this post can shed some light on simple steps to make taking long-exposure photos in the dark seem like clockwork.

This guide will teach you how to take long-exposure photos of bioluminescent mushrooms, even in complete darkness. We’ll cover the camera settings, equipment, and techniques needed for this unique type of photography.

Buy Me a Coffee

Table of Contents

• My Go-To Settings

• What species of mushrooms glow in the dark?

• Steps and considerations when taking photos of bioluminescent mushrooms:

  • Macro Lens

  • ISO Settings

  • Using a Tripod

  • Manual Focus and Torch

  • Combining Daytime and Nighttime Photos

  • Anti-shock and IS (Image Stabilization)

  • Remove all external light sources

  • Exposure Time

• Post Production

I would spend hours in the cold night on Stewart Island, trying…and failing, to capture glow-in-the-dark mushrooms. The last thing you want to do is spend time fiddling around with camera settings in the middle of the bush on a cold, dark, rainy night. 

This post will cover some must-dos for getting your camera settings set up BEFORE venturing off into the bush at night.

My Go-To Settings

• ISO 1250-1600

• Aperture / f-stop (dependent on size of subject to be in focus)

• +3 minute exposure (Live Time function)

• Anti-shock – 8 sec.

• Noise filter – HIGH

• Noise Reduction – ON

• IS (Image Stabilization) – OFF

Note: Depending on the size and position of the subject/s, the aperture can range and the exposure time reduced. For example, for capturing depth of field I’ll sometimes shoot for minutes, ISO 1600, at f/9 or higher.

I’ll go into further detail below as to why I use those settings, but first, let’s discuss the subject we’ll be shooting. 

WHAT SPECIES OF MUSHROOMS GLOW IN THE DARK? AND WHAT DO THEY LOOK LIKE IN DAYLIGHT? 

White rot fungi that break down lignin in wood are known to be bioluminescent.

This includes the most popular Armillaria / Honey mushrooms, Mycenaceae, and Omphalotus. 

As a side note, I don’t recommend wandering aimlessly in the bush at night, but instead, find and identify species that are known to glow in the dark during the day, then come back out at night. 

I regularly update the bioluminescent fungus species list on Wikipedia, serving as a useful reference for those interested in these unique organisms. To find similar species in your area, use iNaturalist for regional comparisons.

Over the past two decades, the number of known bioluminescent mushroom species has increased from around 40 to over 113.

This post aims to inspire individuals to photograph more glowing species, shedding light on the fascinating world of bioluminescent mushrooms.

*IMPORTANT*

Before we go any further, I would like to mention that for this to work, you must have a camera that allows you complete control over settings such as changing your aperture, ISO, and exposure time. 

I use an Olympus EM-5 Mark III. With this specific camera, there is a LIVE/BULB Time mode that allows for long exposures for minutes. Make sure your camera can take long-exposure shots.

Steps and considerations when taking photos of bioluminescent mushrooms

1. A MACRO LENS IS RECOMMENDED

I use an M. Zuiko 60mm f/2.8 lens. 

I was put onto this lens in particular because the lady who took the cover photo for the documentary Fantastic Fungi mentioned she used it, and I’ve heard many others praise this lens as being an excellent addition to their photography gear. But, essentially any macro lens will do the trick!

• The f/number = how aperture is measured, so the lower the f-stop the faster the aperture.

• The faster the aperture the more light that is allowed to enter your lens.

• Because the goal is to absorb as much light as possible at a lower ISO, the slower the aperture, the more underexposed and noisy the photo will be.

2. ISO SETTINGS

The higher the ISO, the grainier/noisier the photo.

When it’s pitch black, you can do either one of two things. 

• Up your ISO to the max (i.e., ISO 12800) and set a short exposure time, or

• Set a lower ISO between (ISO 1000 to 1600) and set a long exposure time (over a minute).

ISO IS JUST ONE OF THREE SETTINGS TO CONTROL YOUR SHOT; SHUTTER SPEED AND APERTURE ARE THE OTHER TWO. 

For the first ISO option mentioned above, I recommend doing this as an initial test to detect if the subject is indeed glowing at all. If you have multiple specimens, you can put them in a container and just shoot the entire container in one go to detect if any of them emit light.

Instead of waiting around for your eyes to fully adjust to witness the bioluminescence, let the camera be your eyes for the time being.

Albeit, the quality of the photo will not be as sharp as the second ISO option. You can see spots on the mushroom/s and readjust your composition to take a longer shot with a lower ISO.

Note: Some mushroom species that appear to be prime candidates end up not emitting any light at all.

If they do, they don’t emit light in the entire stipe or cap, or there are smaller undetected growths in the mycelium and smaller emerging mushrooms that overpower the composition with their brightness. It can all be pretty variable.

3. USE A TRIPOD

I reckon this goes without saying, but I figured I’d add this in here anyway. Using a tripod is good practice, both for nighttime and daytime photography. 

I have an Ulanzi MT-20 tripod that’s portable and easy to carry. Given that most mushrooms are on the ground, I find using a smaller tripod to be practical and a cheaper alternative. 

Using a tripod prevents any shake that may muck up your shot. I’ve made the mistake of bumping into mine towards the end of an 8-minute exposure. (－‸ლ) Very Sisyphean! Once again, patience is a must, and so is a tripod.

4. MF (MANUAL FOCUS) + TORCH

• Use MF (Manual Focus).

• Attempting to shoot in AF (Auto-focus) simply doesn’t work when it’s pitch black out. Your camera will constantly try to focus on a subject that it can’t see! 

• Bring a torch with you to shine a light on your subject. 

• Use manual focus to get it as focused as you can. 

• If your camera has a magnify and/or focus peaking function, this is an added bonus to ensure your focus is at its sharpest and spot-on.

5. TAKE A “DAYTIME” PHOTO

When you have your shot all lined up and in focus, take a “daytime” photo. I do this for two reasons: 

1. It’s nice to show before and after photos of the mushroom/s (on vs off).

2. It’s a must to have a daylight photo to superimpose with your bioluminescent photo in post-production in PS (Photoshop) - which is discussed more at the end.

When you take a “daytime” photo, you’ll want your ISO relatively low and your focus to be the same as your nighttime shot.

6. ANTI-SHOCK AND IS (IMAGE STABILIZATION)

Set a delayed shutter release timer if you don’t have a remote shutter. 

I used to set mine at 2 seconds but have gotten accustomed to 8 seconds. I don’t feel the pressure or anxiety of worrying about any after-shake from manually pushing down the shutter button. 

Anti-shock delays a shot to ensure no residual camera movement from pressing the shutter button will affect your photo’s focus and/or composition. Just remember to turn this off when you’re no longer taking long-exposure shots!

I set my IS (Image Stabilization) to OFF. 

This is because, for nighttime photos, the sensor will constantly attempt to stabilize, resulting in more battery drain. This leads to electrical charges that leak into the sensor wells creating “hot pixels” – red specks in the photo. These are inevitable but can be easily removed in Photoshop or Lightroom.

7. REMOVE ALL EXTERNAL LIGHT SOURCES

When taking photos in the bush at night, going out when there is minimal moonlight (a new moon is best), or enough cloud coverage will yield better results. You can check what the moon will be using this Moon Light calculator. Light pollution has also become an issue with on-going urban development. You can check Light Pollution in your area using Dark Site Finder.

TAKING PHOTOS IN A CONTROLLED ENVIRONMENT

Another option is to use a black bin, closet, or drawer and take photos at home.

It’s easiest to take photos in a controlled environment, but this also limits the creativity of your composition compared to photos taken out in the wild.

When out in the bush at night, I had to deal with a foggy lens and dew, which rendered many of my shots useless. You don’t have this issue when you’re in the comfort of your own home.

I’m fortunate to have some bioluminescent species growing in my garden, making it a lot easier to take photos while I’m preoccupied with other things around the house. I set a timer on my phone and, when alerted, come back to pop open the lid to my black bin. The results are exciting, and I feel like a kid opening a present every time. 

Before going out and collecting mushrooms, make sure to look up the legality of picking mushrooms in your area before doing so. If you decide to bring a species back home to photograph, make sure you get a bit of the wood it’s growing on, and take the photo shortly thereafter as the luminosity quickly fades. 

8. EXPOSURE TIME

There are heaps of bioluminescent photos online, but some of them are oversaturated and misrepresentative of what you’d actually witness in the bush. 

The aim shouldn’t be to spend a significant amount of time in post-production manipulating your photos but instead to have something authentic and indicative of what you’d witness with your own eyes.

I lower the ISO and aim for a longer exposure time to reduce noise (graininess). 

Some cameras have noise reduction settings. I set mine to LOW, or AUTO. It may seem counter-intuitive, but it can produce hot pixels when you have the camera processing noise reduction. 

It’s best to do noise reduction post-production.

For the Olympus cameras, some have “LIVE Time” and “BULB Time”.

• LIVE Time essentially allows you to select a length of time (i.e., 8 minutes), set it and forget it.

• BULB Time will enable you to choose the duration precisely via manually pressing the shutter button. 

Given that I don’t have a remote shutter, I always use LIVE Time mode. 

9. POST PRODUCTION

After you’ve taken a series of both daytime and nighttime photos, it’s time to do a bit of post-production to get the most realistic results.

When some people hear the words Photoshop or Lightroom, their eyes might glaze over, or it may seem too technical. 

If you’ve managed to make it this far, the end is near, and the results of your hard work will be very rewarding! 

Post-processing involves enhancing your photos with software like Adobe Photoshop or Adobe Lightroom. 

This isn’t considered cheating in the photography community and nearly all bioluminescent fungi photos you see online have been post-processed (albeit some a bit too much). 

Remember, you are enhancing your photos, not adding things to them.

1. Open both files as separate layers on Photoshop.

2. Stack both dark and light versions of your photos.

3. Adjust the opacity of the layer as you see fit.

4. In the layers panel, adjust the opacity so it’s slightly transparent allowing some of the background detail from the daytime photo to come through.

5. There are various Noise Reduction filters also available on PS. For the hot pixels that I found present in my photos, I favored the “Dust & Scratches” option (under the Filter > Noise). Another option is to use software like TopazAI.

And voila! You’ve taken a bioluminescent photo, which I hope will just be the beginning of many more to come. I hope this post was somewhat useful and that it has inspired you to take more long-exposure photos.