Dara Ojo’s insect photographs turn a small world into a big creative subject

An insect resting on a leaf can be easy to miss until a photographer shows the structure of its eyes, the colour along its body or the extraordinary texture of its wings. That change in scale is at the heart of Dara Ojo’s work, and it is what makes his latest account of becoming a macro photographer worth reading beyond the photography community.

In a new BellaNaija interview, Ojo traces his interest to the pandemic period in China in 2020. What began as an accessible creative pursuit developed into a sustained practice of observing small creatures. His work has since taken him into different environments, including Nigeria, Canada and parts of Central and South America.

A different way of looking

Macro photography is not simply an ordinary photograph enlarged until it fills a screen. Working close to a subject changes the practical decisions behind an image. The depth of field can become very shallow, a small movement can shift the point of focus, and a background that seems insignificant to the naked eye can dominate the finished frame.

That helps explain why patience matters as much as equipment. A successful insect portrait depends on observing how the animal moves and where it pauses. The photographer is responding to a living subject, rather than arranging an object on a table. The result can make a familiar garden look unexpectedly complex without requiring an exotic location.

Ojo describes a forthcoming book, Tiny Titans: The Silent Keepers of Our Ecosystem, as another expression of that attention. The interview presents it as a developing project; readers should not assume a publication date or sales availability that has not been announced. Its central idea is already clear: small species deserve more than a passing glance.

Where art meets public understanding

Images can make biodiversity feel less abstract. A general warning about environmental loss is difficult to picture, whereas the recognisable features of a tiny creature can create curiosity immediately. That does not mean every attractive insect photograph proves a scientific discovery. Identification, habitat information and conservation claims still need appropriate expertise.

For Nigerian creators, the more interesting lesson is that a distinctive subject can become a serious body of work. There is no need to imitate celebrity photography or the same familiar travel views to have an audience. An overlooked environment can be the starting point for an individual visual language, especially when the creator returns to it consistently.

Anyone inspired to try should begin with observation rather than disturbance. A garden, a plant near a window or a safe outdoor path can provide opportunities. Avoid handling an unfamiliar animal simply to improve a composition, and do not damage its surroundings for a cleaner background. The best picture is not worth injuring the subject that made it possible.

Ojo’s story ultimately offers a useful alternative to the idea that creativity requires constant spectacle. Sometimes the subject is already there, close enough to walk past every day. A more deliberate look, repeated over time, can turn that ordinary encounter into work with a recognisable voice and a wider conversation around nature.