Rose ‘Sweet Wonder’, Lensbaby Velvet 56mm, 112mm, ISO 200, ƒ1.6, 1/100 s
The dreamy quality of the rose photo above was captured using a special lens: the Lensbaby Velvet 58, which adds a glowing haze around the subject. Specialist lenses like this have their place, although they are difficult to use and only suited to a narrow range of subjects. Some flower photographers swear by them. However, there are many other ways to create soft, dreamy, ethereal flower photos with standard camera lenses, and I’ll share some of my attempts at this kind of photography in this article. All of the photos are from my own garden.
DREAMY FLOWER PHOTOGRAPHY
The aim with this kind of photograph is to create a glowing mystical image with an appealing dream-like quality. Such images, when done well, can be very compelling, capturing our attention in a way that more accurate representation fails to do. These aetherial images seem to resonate with the lingering beauty that vibrates in us after perception has taken place: Not the immediate reality, forced into a hard-edged scientific objectivity, but more like the wistful memory that lives on.
What counts as ‘dreamy’ is obviously rather subjective, but in my experience, such photos often make use of one or more of the following: (1) SOFTNESS Harsh edges and sharp focus are avoided, in preference for a softer, more impressionistic vibe. (2) BOKEH Foreground and background elements are creamy and abstract, so the surroundings are lost in a mist. (3) LOW CONTRAST Dreamy images are often low contrast, making them more painterly. (4) LIGHT & AIRY Dreamy images tend to be bright and glowing, avoiding deep shadows that might make them too moody.
CREATING THE LOOK
A simple technique (but, like all photography skills, one that needs to be practised) is to photograph a subject through foreground flowers or leaves. The closer to the lens these foreground elements are placed, the blurrier they appear in the final image. Bringing them so close that they even touch the lens, turns them into a colourful mist across part or all of the image. By careful positioning these blurry elements to the sides or edges, the main subject can be framed in a blurry haze making it appear as if it is materialising out of the aether, or rising out of a colourful fog.
Another technique is to use a very shallow depth of field, so only a small part of the subject is in focus, while most of the plant or flower dissolves into an abstract haze. The further away the background is, and the simpler it is, the more creamy and even the bokeh will be. The background, therefore, becomes very important when composing shots. Although difficult to achieve, I like to have some part of the main subject (such as a leaf, or second example of the flower) blurred, but still recognisable in the image.
For the camera nerds out there, I shot all of these photos on a micro four thirds system mirrorless camera (Lumix DC-GX80/85) with relatively inexpensive lenses. Hopefully these photos showcase the kind of quality that such a lightweight system can achieve.
1
Rose ‘Desdemona’ | May 2023
One of my favourite shrub roses. This photo benefits from beautiful background bokeh and the second out-of-focus rose in the foreground all add to the dreamy look of this photo.
LUMIX G 42.5mm f/1.7 | 85mm, ISO 200, ƒ1.7, 1/2000 s
2
Darmera peltata | May 2025
These saxifrage flowers were photographed through the gaps in an adjacent flower head. This gives the whole image a puce blurry tinge. TIP: Avoiding any green in your flower photos is a good way to set them apart from the run-of-the-mill.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/1000 s
3
Rose ‘Etoile de Hollande‘ | September 2024
By getting in close, the petals extend right up to the edge of the photo, creating a natural background to the dancing stamens in the centre.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ3.2, 1/1300 s
4
Holly Blue Butterfly on Heuchera | September 2024
The success of this photo lies in the quality of the out-of-focus background, both its monochrome cast and fine texture. The colour comes from the purple Heuchera foliage, while the speckled texture is from the small white Heuchera flowers.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ3.2, 1/1300 s
5
Cape Daisy | August 2024
Another example of photographing through a foreground flower, which is nearly touching the lens, casts a bright orange hue across the whole image. The texture of this foreground flower’s petals is visible on the left, echoing the main subject and acting as a supporting element.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/640 s
6
Avens | August 2024
This is Geum borisii (or a cultivar thereof.) I love how the flowers in the background have been rendered like painter’s brush strokes, while the main subject shows a flower that is going over, showing off the dense clump of stamens in sharp detail.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/400 s
7
Euphorbia | August 2024
Spurges are always interesting subjects with their unusual flower structure, but this one has especially colourful flowers and stems (Euphorbia ‘Miner’s Merlot’). Photographing through its own foliage adds foreground blur in harmonising colours.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/125 s
8
Agapanthus | July 2024
On a warm summer’s evening, I lay on the ground looking up into a bunch of Agapanthus flower heads growing in pots next to me. I captured a series of impressionistic photos in the evening light. By using manual focus and a shallow depth of field, I was able to create this watercolour look.
LUMIX G 42.5mm f/1.7 | 85mm, ISO200, ƒ2, 1/800s
9
Speedwell | July 2024
Veronica austriaca subsp. teucrium ‘Crater Lake Blue’ is a great garden perennial, creating lax clumps of stems 14in (40cm) long, covered in spires of tiny blue flowers in late May and early June. Each flower is just a few millimetres across. I love in this photo how the structure of the stems and leaves are still visible, but do not dominate the image.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ4, 1/320 s
10
Sweet Woodruff | May 2025
In this fairy woodland scene, the distinctive arching stem of the main subject (Sweet woodruff / Galium odoratum) is paired with a second, upright stem in the background, which conveys its likeness, despite being almost obliterated in the blur. Composing with secondary subjects like this helps make a much more compelling image.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/1000 s
11
Clematis ‘Early Sensation’ | May 2025
A good example of shooting ‘through’ foreground flowers to create an atmospheric picture. Notice how the extremely blurred flower in the bottom left, still retains the green and white impression of the flowers.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/125 s
12
Verbascum | May 2025
The blurry frame surrounding this image was created by shooting through the foliage of two foxgloves that were close to the camera. Backlighting highlights the fine hairs on the verbascum.
LUMIX G 42.5mm f/1.7 | 85mm, ISO 200, ƒ2, 1/160 s
13
Kniphofia ‘Poco Citroen’ | Jun 2025
Flower head of a dwarf yellow-flowered red-hot poker with lavender alongside. Soft, under-saturated, low contrast… dreamy.
SIGMA 56mm f/1.4 DC DN | 112mm, ISO 200, ƒ1.4, 1/2500 s
14
Martagon Lily | Jun 2024
Shooting upwards into the hanging turks-cap flowers of this white Martagon lily, creates balls of light from the dappled tree-canopy above. I think the background contains rather too many dark areas to convey the most dreamy impression though.
SIGMA 56mm f/1.4 DC DN | 112mm, ISO 200, ƒ1.6, 1/2500 s
15
Anemone blanda | April 2025
By editing for reduced contrast, this image has taken on a flatter, more painterly look. I particularly like the background flowers on the left.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ3.2, 1/1300 s
16
Brunnera | May 2025
With seed pods dangling from their stems these tiny blue Brunnera flowers turn their faces upwards towards the light. Many people choose lenses for their sharpness, but in this kind of photography the way lens renders out-of-focus areas is often more important. In this image, for example, I think the more distant stems and flowers are too busy or nervous.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/500 s
17
Bluebells | May 2025
Here, the background stems and flowers create a strong diagonal background. A single sharp flower provides a focal point in this otherwise abstract image.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/320 s
18
Night Allium | May 2025
This photo was taken in the evening well after sunset (9pm) bringing out grain and emphasising the white petals. I edited it to reduce the contrast and ‘flatten’ the dynamic range, as well as adding some bloom.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ3.2, 1/1300 s
19
Forget-Me-Nots | May 2025
Another example of improving a composition by repeating the main subject in the background. I like how the backlit petals glow against the blue sky. Reducing the colour palette can increase the impact of any photo. With flower photography, avoiding the ubiquity of green is often effective.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/800 s
20
Aster | August 2024
Using a very shallow depth of field and focusing on the edges of the petals, I was able to create a very abstract image from this Aster ‘Mönch’. TIP: To discover more abstract compositions like this, try manual focus and leave the lens at a single focal distance, then move around, in and out (back and forth) while looking through the viewfinder.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 1250, ƒ1.8, 1/125 s
21
Penstemon ‘Sour Grapes’ | June 2025
Variety can be brought into flower photography by seeking subjects that are not in full flower. In this shot, for example, I chose to focus on a young stem, covered in unopened buds. I have positioned a stem of open flowes in the background, to hint at how the plant develops.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/125 s
22
Tall Verbena | August 2024
In some cases, it is not the flowers but the whole structure of a plant that is interesting, such as the tall-thin stem of this Verbena bonariensis, here backlit against a background of Russian sage.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 1250, ƒ1.8, 1/125 s
23
Campanula | May 2025
These bellflowers (Campanula portenschlagiana) were photographed through an adjacent onion flower, casting a blue haze over the whole image. One flower stood out more clearly, creating a focal point for the composition.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 1250, ƒ1.8, 1/125 s
24
Aster | Aug 2024
Using a very shallow depth of field and focusing on the edges of the petals, I was able to create a very abstract image from this Aster ‘Mönch’.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 320, ƒ2.8, 1/320 s
25
Pink Geranium sanguinium ‘Striatum’ | May 2025
Scenes with several species in are harder to capture as there are so many elements to take into account. These bloody cranesbills were photographed through a foreground of blue Campanula portenschlagiana. Above them rise stems of Euphorbia ‘Miner’s Merlot’. I think it would have been better if I’d made sure the cranesbills were a bit more visible
LUMIX G 20mm f/1.7 | 40mm, ISO 200, ƒ1.7, 1/1600 s
26
Geranium ‘Bill Wallis’ | May 2025
The long stems of Geranium pyrenaicum ‘Bill Wallis’ weave their way into adjacent plants. Here they are popping up through a carpet of Snow-in-Summer (Cerastium tomentosum) creating a meadow-like scene. It may have been even more impactful if I’d plucked away all the others just leaving the central one with its pop of colour.
LUMIX G 42.5mm f/1.7 | 85mm, ISO 200, ƒ1.7, 1/5000 s
27
Stonecrop | Aug 2024
Succulents like this stonecrop (Sedum ‘Plum Dazzled’) have striking angular branches and other-worldly flowers when you get close enough to really appreciate them. In this photo they rise above us like trees in an alien forest.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/125 s
28
Rose ‘Carefree Days’ | June 2025
This rose usually produces clusters of roses, but I managed to find one and isolate it for this shot. The colour-grading has changed it from it’s natural magenta-pink to a salmon cast: botanically incorrect, but for creative flower-photography I think it’s an acceptable artistic decision.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/5000 s
29
Osteospermum and Nectoscordum | May 2025
Just enough in focus to hold the eye. Just enough out of focus to warm the heart. Golden Osteospermum and dangling Allium siculum (Nectoscordum siculum)
LUMIX G 42.5mm f/1.7 | 85mm, ISO 200, ƒ1.8, 1/250 s
30
Flower Garden | May 2025
Here, a combination of society garlic (Tulbaghia violacia) and curry plant (Helichrysum italicum) make an interesting composition.
OLYMPUS 60mm f/2.8 Macro | 120mm, ISO 200, ƒ2.8, 1/1000 s
31 – Bonus!
Hellebore | March 2025
A beautiful dreamy garden photo to finish on: Very little of the flowers are in focus, but the floral impression and character of the flower is very strong. I hope you have enjoyed the flowers in this gallery. Let me know your thoughts in the comments section below.
LUMIX G 42.5mm f/1.7 | 86mm, ISO 200, ƒ1.8, 1/100 s
These are really terrific — I’m so impressed.
Thank you Tim.
Wonderful photos. Thank you!