Flowers
Flower photography is a fascinating intersection of art, science, and technical skill. For nearly two centuries, photographers have documented, interpreted, and reimagined botanical subjects. This week, we will explore the rich history, notable practitioners, diverse approaches, and practical techniques that can help any photographer capture compelling floral images.
The Historical Evolution of Flower Photography
The relationship between flowers and photography began almost as soon as the medium was invented. William Henry Fox Talbot, one of photography's pioneers, created some of the earliest photographic images in the 1830s using what he called photogenic drawing—placing objects directly on chemically treated paper and exposing them to sunlight. Among his earliest subjects were garden plants and flowers from his home at Lacock Abbey in Wiltshire.
Fox Talbot humbly acknowledged his place in history: "I do not claim to have perfected an art, but to have commenced one, the limits of which it is not possible at present exactly to ascertain." This early experimentation laid the groundwork for centuries of botanical imaging.
Flower photography has radically transformed since the 19th century, reflecting broader shifts in artistic movements, technology, and cultural attitudes. Its journey from scientific documentation to a medium for personal and conceptual expression reveals much about the evolving language of photography itself.
19th Century: Scientific Documentation and Technical Mastery
In the early days of photography, flowers were primarily subjects for scientific study and technical demonstration. Botanists and early photographers, like Anna Atkins, used processes such as cyanotype to document plant species, producing some of the first photographic books dedicated to flora. The camera was valued for extending human vision and capturing botanical detail with unprecedented accuracy, a task previously reserved for skilled painters and illustrators.
At this stage, flower photography was closely tied to realism and objectivity. Images were often straightforward, focusing on clarity, form, and accurate representation. Early artistic uses included greeting cards and still life compositions, where photographers showcased their technical prowess with studies of colour, shadow, and contrast.
Early 20th Century: Artistic Experimentation and Abstraction
The dawn of the 20th century saw flower photography embrace artistic experimentation. Influenced by avant-garde movements such as Cubism, Dada, and Surrealism, photographers began to move beyond literal transcription. Techniques like photograms and solarisation (as seen in Man Ray’s work) presented flowers in unfamiliar, abstracted forms, emphasising geometry, pattern, and the interplay of light and shadow.
Pioneers like Karl Blossfeldt used macro photography to transform common flowers into architectural, rhythmic forms, highlighting their structural patterns and blurring the line between scientific study and artistic abstraction. Imogen Cunningham, meanwhile, applied modernist composition and natural light to reveal the delicacy and strength of botanical forms, often focusing tightly on the flowers' core structures.
Mid to Late 20th Century: Symbolism, Sensuality, and Conceptual Approaches
As the century progressed, flower photography became increasingly symbolic and conceptual. Photographers such as Robert Mapplethorpe used flowers to explore themes of sensuality and sexuality, producing images that were both visually striking and culturally provocative. His tightly composed, high-contrast photographs of calla lilies and other blooms were interpreted as suggestive and politically charged, reflecting broader debates about art, identity, and public funding.
During this period, the boundaries between fine art, fashion, and documentary photography became more porous. Flowers were no longer just botanical specimens or decorative subjects; they became carriers of metaphor, allegory, and personal narrative.
Late 20th Century to Present: Digital Manipulation and Personal Expression
The rise of digital photography and social media has further expanded the possibilities of flower photography. Artists like Joan Fontcuberta have created photographic flower hybrids, digitally manipulated images that challenge notions of authenticity and reality. Today, flower photography is as likely to be used for personal storytelling, conceptual art, or social commentary as it is for scientific or decorative purposes.
Contemporary photographers experiment with everything from extreme macro and minimalist black-and-white studies to vibrant, digitally enhanced compositions. The accessibility of smartphone cameras and editing tools has democratised the field, allowing a wide range of practitioners to contribute to the genre's ongoing evolution.
Types and Subgenres of Flower Photography
The world of flower photography encompasses various approaches, each with its own technical requirements and aesthetic goals:
Macro Flower Photography: Macro photography allows photographers to capture extreme close-ups showing fine details of flowers that are typically invisible to the naked eye. The stamens, pistils, pollen, and minute textures of petals become the subject, often creating images that appear almost abstract. This approach typically requires specialised equipment like macro lenses, but it rewards photographers with a glimpse into the extraordinary complexity of floral structures.
Abstract Flower Photography: Abstract flower photography emphasises colours, shapes, and textures rather than representing the whole flower. By focusing on specific elements or unusual viewpoints, photographers create images that are more impressionistic than representational.
Minimalist Flower Photography: The minimalist approach uses fewer elements to create simple, focused images that emphasise essential qualities. Photographers might isolate a single petal, stem, or bloom against a plain background, often converting to black and white to further reduce visual complexity.
Scientific/Botanical Photography: Returning to photography's documentary roots, scientific flower photography prioritises accuracy and detail over artistic interpretation. These images serve taxonomic, educational, and research purposes, requiring meticulous attention to capturing and identifying characteristics.
Artistic Approaches and Theories
The New Objectivity Movement: The Neue Sachlichkeit movement, which emerged after World War I, significantly influenced flower photography through practitioners like Karl Blossfeldt. This modernist approach sought to use the camera objectively, utilising its "replicative faculties to present the world as authentically as possible". The movement rejected photography's painterly and aesthetic functions, as well as personal style, in favour of documentary precision. Photographers aimed to "recreate the immediate perception of objects in the world" while embracing photography's capacity for scientific objectivity.
Self-Illustration Versus Artistic Control: Early botanical photography presented a philosophical shift from previous illustration methods. While traditional botanical artists demonstrated their mastery over nature through skilled drawings, photography allowed specimens to essentially "illustrate themselves". This direct representation bypassed some aspects of human interpretation, creating a different relationship between subject and image.
As photography evolved, this tension between documentation and interpretation has remained a central question for flower photographers. Each practitioner must decide where on this spectrum their work will sit.
Equipment and Technical Considerations
Camera Options: While professional flower photographers often use sophisticated equipment, compelling images can be created with a variety of tools:
Smartphones with good cameras and macro capabilities are versatile and capable of excellent results, with the advantage that they will always be with you.
Compact cameras featuring dedicated macro modes offer greater control while still being portable. They frequently include larger sensors than smartphones—the Ricoh GRIII is a prime example.
Traditional cameras: DSLR and mirrorless bodies with interchangeable lenses offer maximum flexibility and image quality, but they are expensive and heavy.
Supporting Equipment: additional tools that enhance flower photography include diffusers to soften harsh light and reflectors, or portable LED lights to brighten shadows. Mini tripods or gimbal stabilisers are handy in smartphone photography to avoid camera movement.
Compositional Approaches: Compelling flower photography depends on thoughtful composition. We usually see flowers from above, standing over them. But if you limit yourself to shooting only from that perspective, you risk achieving only boring photos. Get down low. Get close to the flowers, and look at them from a different angle:
Focus on the most interesting part of the flower—centre, petals, or unique features.
Try different angles—shoot from higher or lower perspectives for fresh viewpoints.
Look for unique specimens or arrangements that stand out.
Consider the background—it should complement, not compete with, the subject.
Get low and change your perspective from how we typically see flowers.
Lighting Considerations: As with most genres of photography, the quality of light dramatically affects the mood and detail of flower photographs:
Soft, diffuse light works best for most flower photography, revealing subtle details without harsh shadows.
Morning or evening golden light adds warmth while preventing strong direct sunlight from washing out the colours.
Overcast days provide natural diffusion, which is ideal for saturated colours.
Backlighting can reveal translucent petals and create dramatic silhouettes.
Maximising Your Smartphone's Capabilities: If available, use the phone's dedicated macro mode and tap-to-focus to ensure the most important part of the flower is in focus. Use Exposure Lock and adjust the exposure by tapping and sliding to prevent overexposure of bright flowers. Always shoot RAW files if your phone allows it. You can use your phone’s burst mode to capture multiple images when dealing with slight movements from the breeze. Consider an add-on macro lens if you do this kind of photography often.
Stability Solutions: Even the slightest camera movement can ruin macro flower shots. There are several ways to avoid this. Use both hands and brace your elbows against your body, and use your phone's timer or voice activation to avoid touching the screen when shooting. In a pinch, rest your phone against a stable object—but for more reliable support, consider buying a mini-tripod designed for smartphones, or even a gimbal mount.
Creative Approaches in Flower Photography
Fieldwork Practices: Successful flower photography often depends on your approach to the subject, whether out in the field or in the studio:
Become immersed in your environment—sit amongst the flowers and take the time to observe them, noticing the tiny details and patterns that might not be obvious at first.
Be patient and explore different angles—take your time, stick with the one subject and explore all the viewpoints. Take test shots and refine your ideal composition.
Respect your subjects—avoid damaging plants or disturbing natural environments.
Plan your shoot at the right time to catch the best light and flowers—research flowering seasons and visit locations during peak bloom.
Return to the same location at different times of day to achieve a range of lighting conditions. In the studio, experiment with your lights and reflectors.
Creating Dreamy Effects with Bokeh: The Japanese term bokeh refers to the aesthetic quality of out-of-focus areas in an image. Creating beautiful bokeh can transform flower photographs:
On a traditional camera, use a telephoto macro lens with a wide maximum aperture. The Portrait mode can achieve a similar result on a smartphone, but third-party add-on lenses are definitely worth a try. Macro lenses from Reeflex, Beastgrip, and Moment are all excellent; they’re not exactly cheap but are far less expensive than the equivalent lenses of a DSLR or mirrorless system.
Look for elements that can create foreground bokeh, not just background blur
Position yourself to maximise the distance between the subject and the background
Use light colours and pastel tones for a softer, dreamier effect
Experimenting with Black and White: Converting flower images to black and white creates a different aesthetic, emphasising form, texture, and light rather than colour. It can make a more timeless, minimalist image and works particularly well for flowers with strong structural elements.
Focus Stacking: A technique for overcoming the limited depth of field in macro photography, although it is more likely to be used with traditional cameras than in smartphone photography. It involves taking multiple images focused at slightly different points. Software then combines the sharpest parts of each image. This technique allows you to maintain a wide aperture while achieving front-to-back sharpness.
What’s the Frequency, Kenneth? Get onto a different wavelength by experimenting with ultraviolet and infrared photography. Again, this is a slightly more advanced technique that is more in the province of traditional cameras, using filters and sometimes even modified camera bodies. However, it is possible to use infrared filters with some smartphones… the results can be very rewarding, just do your research before you spend any money.
Famous Flower Photographers and Their Iconic Works
Anna Atkins: The First Photo Book
Anna Atkins (1799-1871) holds a significant place in photography history as the creator of the world's first photography book. Beginning in 1843, Atkins produced cyanotypes—a photographic process that creates striking blue-and-white images—of various algae specimens for over a decade. Her work was initially conceived as an illustrated supplement to William Henry Harvey's Manual of British Algae (1841).
Atkins explained her motivation clearly: "The difficulty of making accurate drawings of objects so minute as many of the Algae and Confervae has induced me to avail myself of [the] beautiful process of Cyanotype, to obtain impressions of the plants themselves". Her twelve volumes of algae images not only pioneered photographic illustration but also fuelled the Victorian "fern craze".
Karl Blossfeldt (1865-1932): The Father of Botanical Photography
By the early 20th century, photographers were expanding beyond purely documentary approaches. Karl Blossfeldt (1865-1932), a German instructor trained at the Academy of Royal Crafts Museum in Berlin, photographed plants for over thirty years. A key figure in the Neue Sachlichkeit (New Objectivity) movement that emerged after World War I, Blossfeldt sought to use the camera objectively.
Karl Blossfeldt’s influence on modern botanical photography is profound and enduring. He shaped both the aesthetics and methodology of the genre. His work, produced between the late 19th and early 20th centuries, marked a dramatic departure from the romanticised or painterly approaches that preceded him. Instead, Blossfeldt championed a style rooted in clarity, directness, and the rigorous study of form.
Technical Innovation and Macro Photography: Blossfeldt developed his own cameras equipped with special magnifying lenses, enabling him to photograph plant structures at up to 30× magnification—a technical feat at the time. This allowed him to reveal intricate details of leaves, stems, seed pods, and flowers that were invisible to the naked eye. His images, often set against plain backgrounds, isolated the subject from context, compelling viewers to engage with the plant’s architecture and geometry.
Aesthetic and Conceptual Shifts: Blossfeldt’s work embodied the ethos of the Neue Sachlichkeit movement, which emerged in post-World War I Germany as a reaction against Expressionism's emotional excesses. His photographs were unsentimental, sharply focused, and devoid of decorative embellishment. Each plant was presented as a self-contained object, stripped of narrative or habitat, inviting a new visual interrogation. This objectivity was not cold detachment; instead, it produced a sense of awe at nature's factual grandeur and inherent design.
Bridging Art, Science, and Design: Blossfeldt’s approach blurred the boundaries between scientific documentation and artistic creation. His images functioned as educational tools and works of art, revealing patterns, symmetry, and structures that inspired artists, designers, and architects. The publication of “Urformen der Kunst” (Art Forms in Nature) in 1928 was intended as a teaching aid but quickly gained recognition as a landmark in modern art and photography. It featured plants photographed against plain cardboard backgrounds, creating images that resembled detailed line drawings. His work particularly influenced the Bauhaus movement, Surrealist aesthetics, and the field of biomimicry, where natural forms inform design and architecture.
Critical Reception and Canonisation: Contemporary critics, such as Walter Benjamin, recognised Blossfeldt’s work as a radical “inventory of perception,” fundamentally altering how viewers approached the natural world through photography. By stripping away context and focusing on form, he revealed an “unsuspected wealth of forms” in nature, transforming botanical photography into a bridge between empirical study and visual poetry.
Lasting Impact on Modern Botanical Photography: Karl Blossfeldt revolutionised botanical photography by introducing technical innovation, a new aesthetic grounded in objectivity, and a conceptual approach that bridged art, science, and design. His influence persists in the clarity, rigour, and creativity defining modern botanical photography, inspiring generations to look at the natural world with scientific curiosity and artistic appreciation:
Macro and Close-Up Techniques: His pioneering use of magnification set the standard for modern macro photography, encouraging photographers to explore the hidden structures of plant life.
Formal Rigour and Minimalism: The stark, objective presentation of subjects isolated against neutral backgrounds remains a hallmark of botanical photography today.
Educational and Artistic Value: Blossfeldt’s work is still integrated into art and design curricula, valued for demonstrating the interconnectedness of natural form and artistic expression.
Inspiration Across Disciplines: His images inspire photographers, artists, architects, and designers who use nature’s forms to find creative solutions and aesthetic principles.
Imogen Cunningham: Botanical Precision
Imogen Cunningham focused intensely on botanical photography for nearly a decade of her remarkable 70-year career. With a background in chemistry and experience working in the botany department at the University of Washington, Cunningham approached her subjects with scientific understanding and artistic vision.
Her 1925 photograph "Magnolia Blossom" remains one of the most celebrated botanical images in photographic history. The close-cropped composition reveals the cone of stamens and pistils hiding between the petals, creating what her granddaughter Meg Partridge described as "a beautifully sharp, focused, large-format image that is a simple subject, but it's very powerful".
Robert Mapplethorpe: Sensuality and Form
Though Robert Mapplethorpe is known primarily for his controversial portraiture, he also created a significant body of flower photographs throughout his career. These studies reflect his broader fascination with physical beauty and showcase his technical mastery.
Mapplethorpe's approach to flower photography was characteristically complex. He once remarked, "I don't love flowers and I don't like having them," explaining that he disliked being responsible for their inevitable death. Yet his images, particularly his many studies of calla lilies, demonstrate remarkable sensitivity to their form.
His 1988 "Calla Lily" exemplifies his technique—isolating, lighting, and cropping the subject to emphasise its "paradoxical combination of strength and ephemerality". Critics have noted that Mapplethorpe's flowers often suggest eroticism, with the calla lily's rigid pistil and voluptuous petals suggesting both male and female sexuality.
Contemporary Masters
Today's flower photographers build upon this rich tradition while exploring new technological possibilities. Modern practitioners like Georgianna Lane specialise in romantic, light-filled flower portraits, and many other contemporary photographers are recognised for their distinctive and innovative approaches to flower photography, each offering a unique perspective on botanical subjects. Here are some notable names whose work exemplifies the diversity and creativity in this field:
Joan Fontcuberta is renowned for his experimental approach, particularly his "photographic flower hybrids" or mutations. In series like Herbarium (1984), he digitally manipulates floral imagery to create fictional species, challenging viewers’ perceptions of reality and nature. Fontcuberta’s work is emblematic of a conceptual shift in flower photography, using digital tools to transform flowers into vehicles for personal narrative and artistic commentary.
Known as "The flower block master," UK-based Joseph Horner creates striking images by encasing flowers in blocks of ice and photographing them as they freeze and thaw. His process is deeply personal, and he uses natural light to emphasise his subjects' ephemeral beauty and fragility. Horner’s work explores the balance between nature and artifice, often presenting flowers in surreal, contemplative settings. He has exhibited internationally, including in the NFT art space, and his award-winning images have appeared in publications such as Vogue and Elle.
A commercial still-life photographer based in London, Alexis Ko brings a contemporary sensibility to floral photography by reimagining flowers as otherworldly species. Her minimalist compositions, pastel colour palettes, and creative lighting highlight each bloom's distinct shapes and textures, resulting in modern and playful images. Ko’s work bridges fine art and commercial photography, offering a fresh take on the traditional still-life.
An American photographer celebrated for her intimate and abstract flower photography, Sarah Marino uses close-ups and creative compositions to reveal subtle patterns, textures, and forms within her botanical subjects. Her work often explores the boundary between representation and abstraction, and she is also recognised as an educator and writer on the subject.
Based in the Bristol area, Cynthia Miller specialises in flower photography using Micro Four Thirds cameras, often working in her home studio. Her approach demonstrates how accessible technology can yield professional and artistically compelling results, focusing on the intricate details and natural beauty of flowers in controlled environments.
A photographic artist whose recent book “to be frank” delves into his personal motivations and perceptions, Frank van Driel’s flower photography is noted for its exploration of perception and the art of seeing. His images often blur the lines between documentary and fine art, inviting viewers to reconsider the familiar through a new lens.
Jonathan Buckley, a UK-based photographer, is renowned for his editorial and commercial horticultural photography. He collaborated with leading garden writers and contributed to over 30 books, magazines, and newspapers. Buckley’s work is characterised by its vibrant colour, attention to botanical detail, and ability to capture the atmosphere of gardens and individual blooms. He has received multiple awards, including the Garden Media Guild Garden Photographer of the Year.
Australian artist Julie Powell employs a light painting technique to create luminous, almost ethereal images of flowers. By photographing blooms in darkness and painting them with flashlights, she achieves a unique interplay of shadow and colour, highlighting textures and forms in an otherworldly way. Powell’s work invites viewers to see familiar flowers from a fresh perspective, often revealing details that might otherwise go unnoticed.
Barbara Ciurej and Lindsay Lochman: This collaborative duo explores the intersection of history, myth, and popular culture through photographic narratives, often using flowers as central motifs. Their work is conceptually rich, blending documentary and fine art approaches to examine the symbolic and cultural meanings of botanical subjects.
Craig Burrows specialises in ultraviolet-induced visible fluorescence photography, revealing hidden patterns and colours in flowers.
Mona Kuhn’s project “Bushes & Succulents” pairs close-up botanical images with solarised human forms, creating a dialogue between the organic and the figurative.
These photographers exemplify the diversity and innovation present in contemporary flower photography. Their work ranges from editorial and commercial to conceptual fine art and experimental techniques. Their portfolios inspire anyone interested in exploring the creative possibilities of photographing flowers today.
Give It a Try!
Flower photography has evolved from scientific documentation and technical demonstration to a multifaceted art form encompassing abstraction, symbolism, and digital manipulation. Each era has brought new ways of seeing and interpreting the floral subject, shaped by technological advances, shifts in artistic priorities, and changing cultural contexts. Today, flower photography is dynamic and inclusive, inviting technical mastery and creative experimentation.
The genre offers endless creative possibilities, from documentary approaches that capture botanical details to artistic interpretations that transform familiar blooms into abstract studies of form and colour. Its beauty lies in its accessibility. One photographer notes, "Flowers are a handy subject if you are new to macro photography because they don't move around much, and they can be found pretty much everywhere!" This combination of availability and relative ease makes flower photography an ideal entry point for developing technical skills while creating beautiful images.
Resources
Here’s an interesting video from Emil Pakarklis of the iPhone Photography School: “Flowers make great subjects for your photos... But it can be tough to capture their stunning beauty in a photo. 🌸 For truly magnificent flower photos, you have to know a few tricks… And avoid the common mistakes that most people make when photographing flowers! So watch this video, and discover how to capture beautiful flower photos with your iPhone!”
Here’s a great video from Danish photographer, Peter Bredahl Dam, that offers excellent advice on shooting wildflowers: “In this video, I share valuable tips and tricks on how you can capture better photos of beautiful flowers in nature. Whether you are a beginner or someone with a bit more experience in photography, these tips will help you improve your skills and take stunning images of flowers. I will cover various aspects such as lighting, composition, and the best angles to use when photographing different types of flowers. Join me as we explore the vibrant world of floral photography and learn how to make the most of your camera to create breathtaking images that truly capture the beauty of nature.”
Here’s a great video, from Ted Forbes at The Art of Photography, that looks at the work of German photographer Karl Blossfeldt, who we discussed earlier in the tutorial as one of the most influential figures in botanical photography of the 19th and early 20th centuries.
This week’s assignments…
For this week’s daily photos, your brief is to explore the botanical world around you and take pictures of flowers and other bits of plant life that catch your eye.
Let’s see images that demonstrate a variety of approaches to flower photography, with extra points for doing something surprising: black-and-white, extreme macro, weird and otherworldly shots of strange plants… see what you can come up with!
