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Setup shot for this:
www.flickr.com/photos/isayx3/3940545708/
It's not as dark outside as it looks..its about 5:30PM
Microscope lens setup. Effectively extension tubes and a extension tube to RMS cone adapter giving approx 160mm from focal plane to objective. A USB mini LED lamp fed from a rechargeable battery block (that goes in my pocket). The disc near then of the cone is actually a twin flash mount.
Parts. Sony A6000, Sony to EOS lens adapter, EOS to M42 adapter, M42 extension tubes, M42 to RMS cone, 4X 160mm microscope lens.
I already had these but obviously the adapters depend on the camera body in use but you need to get to M42 for the RMS adapter. The most common RMS adapter is a flat disc, if you use this you will need to use more M42 extension tubes.
setup for previous pic.
May have return my new Elinchrom D Lite 2 on the right, can't keep up with RX600 strobe. Added Quadra in foreground b/c her false eyelashes were so big and blocking light from above!
This is the setup used for the experiment in part 1. The camera is a Canon Rebel XT with a mind-bogglingly powerful 8 megapixel sensor, the ruler is a Westcott Stainless Steel, ideal for measuring or sword-fighting, and the mug is an Uwajimaya classic demonstrating my love 4 pandas.
<< *** EDIT Please note that I've since updated my rig and this post is now somewhat outdated. The new setup can be found here! *** EDIT >>
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This rig gives 1:1 reproduction ratio in a relatively compact, easy to handle package.
I find it very convenient to attach the flash bracket in the PN-11 tripod mount since that lets me add more extension tubes between the camera without increasing the distance between the subject and the flash. Also, the PN-11 tripod mount rotates which enables me to easily align the flash the way I want it.
Here are some shots taken with this setup.
These were all made with an additional 50mm extension added between the camera and the PN-11:
Further info in the notes!
Time to talk a little bit about the new camera setup I'm using for this project. As you probably already know, I have a superb Zeiss & Sony based camera system in my use for this project and one goal of this project is to share my experiences with you regarding this setup (read more about it here). Now, I'll be the first one to say that I'm sincerely grateful to have this opportunity because it's much more that I could really afford 'in real life'. Actually it might be even a bit more, since in the back of my mind I like to think that this is really a once-in-a-lifetime setup and something I will surely remember even at the older days – one of those rare cherries that life has decided to toss me with all the other junk it throws at me, hah! So, I'm naturally very happy about it.
But it wasn't always like this. Like anyone who is starting with photography, I too had to put up with a very modest kit at the start. Years ago I only had a Sony Nex-5N with a kit lens, the original SEL1855 (3.5-5.6/18-55). As the kit lens was way too slow for indoor photography and I also wanted to have that shallow depth of field in my photographs, I counted my pennies very seriously and got myself the SEL50F18 (50/1.8). And that was it – I had two lenses for everything. From the image quality's point of view the SEL50F18 was a great lens that I used a lot. Equipped with the optical image stabilizer it was perfect for low light photography and I loved taking it out on streets at night. However, in small spaces and indoors it was a bit bulky and I had to resort for the kit lens which had convenient focal range, but was kind of 'meh' when it came to optical quality. In short, I was living within compromises, and of course, dreamed about a better setup like anyone who is just starting out with photography.
About year ago I was lucky and had an opportunity to switch my Sony Nex-5N to Sony Alpha 7, which had a full frame sensor and was much more 'a serious camera' than the Nex-5N. At the start I thought I could afford to upgrade my APS-C lenses to native FE-lenses pretty soon, but unfortunately I was wrong and had to make it with the Touit 2.8/12 and the Touit 2.8/50M. While these were very fine lenses, they had quite a gap between them in terms of focal length and they didn't utilize the whole image circle of the full frame sensor. Even if I absolutely preferred the ergonomics of the Sony A7, I was left with the camera setup that wasn't so much better than what I had with the Sony Nex-5N. To be truthful, it was actually worse, since the focal lengths that I had didn't mix so well with many of the real life situations that I encountered. So even if I had a better camera, I was still dreaming to be unchained from the limitations of my setup.
Then fast forward to year 2016 and the rest of the story you already know. This project has enabled me, with the kind help of my supporters, to use the camera setup that will finally set me free from the earlier limitations. I have access to full frame camera system that offers fast lenses in many essential focal ranges (18mm, 25mm, 35mm, 50mm, 85mm plus 75mm macro). So how does it suddenly feel to be freed from the compromises and to have that setup that I could only dream about some years ago? To be truthful, it feels kind of overwhelming. While I used years to explore the Sony Nex-5N with the SEL50F18 almost permanently attached to it and learned my system from the inside-out, I'm now facing several different kind of lenses which are still strangers to me – I don't know them in the context of my own photography and I haven't yet learn put their own unique characteristics in practice. In other words, there's a lot to learn before I can truly say that this is my setup.
For what it matters, the Nex-5N, even with inferior technical abilities and some irritating details, has been the most successful camera for me to this day. As anyone knows, it takes many successful photography experiences to really start loving your setup – and these successful experiences are really 'the thing' I'm looking for in the year 2016. I look forward to overthrown the Nex-5N.
Days of Zeiss: www.daysofzeiss.com
Experimenting with a part digital, part practical background. It came out ok, there's some limitations with the size of the monitor (casting to a tv would be better but I'm yet to work that out. I can cast videos no problem but photos? Whoa that's a bit too advanced...)
There's a piece of shiny white cardboard used to bounce some light back onto the shadow areas (without that the shadows are very dark).
And the office building are just paper, they need to be made of cardboard as the paper warps too much. Plus ideally you want a rang of scales in the buildings so you have options for creating depth.
The new setup with 2 flashes. Read the notes!
See no trigger or anything!
Further info on drippy2009.blogspot.com
Update:
Now updated with a 430EX II Flash & Vivitar 283 flash behind the droplet site.
My current setup. I'm pretty happy with how its coming along. Still have a couple things to add, though.
- 27" Apple Cinema Display
- 6-core Mac Pro
- iPhone 4 on the Glif stand
- iPad on the Compass stand from Twelvesouth
- 23" LG Display mounted on an ergotron arm
- Blue Snowball Mic
- Desk from Pottery Barn
- Silver Surfer poster is a custom print from a scan of the comic
- Sword from a local pawn shop
- I'm using the Backpack shelf from Twelvesouth to hold a small lamp on the back of the display to create the ambient light
Checkout my Mac history videos! youtube.com/mattsmacintosh
For those of you asking about my frozen bubble setup, this is a video I compiled from my last photo session. The video is a bit jumpy because I took it from my phone on a selfie stick, sorry. It's interesting to see how fast the ice features form and the short life span of a frozen bubble.
In response to a request, here is an iPhone photo. of my setup for photographing slides. There are possibilities on the market for holding films in position, which I may explore later for work with negatives, but for slides it works just fine without such.
The tripod and camera are set up with careful attention to the parallelism of image plane and pad - a spirit level is indispensible. Once set, the tripod is rock-steady over weeks.
A 12mm extension tube on my 100mm macro lens brings it all together; I use aperture priority with f/8 - this provides enough depth of field for any buckling of the slide. I push the pad around on the desk until the slide is in position - quick and easy with the tethered capture image as a guide on my computer monitor. The autofocus and auto exposure work well.
The whole setup is covered by a black bin-bag to minimise light from the environment on the slide, and to keep it all clean. I can push the pad around with the bag covering it like a tent to within a few millimetres of the desk. The camera in the 'tent' is controlled from the computer, of course, and I work in near darkroom conditions apart from the light from the monitor and from the pad. 'Canned air' is always handy!
this is my latest setup, it's not the best but it does ok. I may make some changes like a bigger dropper, just started using the smaller one a few weeks back. thanks for looking. sorry about the quality of the photo, but this actually was taken with my iPhone.
This is a setup shot from a photoshoot with Sarah, a very talented and beautifull model.
After about one hour in my small home studio, Sarah, assistant Ake and I went out for some location shooting on an abandoned highway. We found a nice natural light pattern under a bridge. We first tried with just the available light but there was allways a part of Sarah's face in the shadow. So I brought in an SB24 (1/4 to 1/8 I think) with a translucent umbrella on a Nano stand. The available light comming from above still created an unwanted pattern on Sarah, so Ake blocked that light with a reflector. By underexposing the background, the pattern got some more contrast.
Triggered with PW's.
Learn how to light at strobist.blogspot.com/2006/02/welcome-to-strobist.html
During a shoot I love creating a visual record of my setups & sharing them with you guys on my site. A couple of people have told me recently that they actually use my site as a reference for setting up shots while they are out on location. That's pretty humbling/awesome, thanks!
More on my blog.
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Strobist:
• 580ex II camera right on 1/4th power, through a Westcott Apollo strip.
• 600ex camera right on 1/4th power bounced off the ceiling.
shot with Lumix LX3.
Video: www.youtube.com/watch?v=PQLPOHEGFKw
Here is the result, also shot with LX3.
www.flickr.com/photos/terytky/3667641165/
Info about courses (sorry, finnish only)
© Cesar T Sanchez
© The Light Whisperer
F8 - ½ second. Camera white balance set to tungsten. Two flashes, one outside window (left) w/o any gel for a (daylight environment to simulate moonlight) 8 feet high aimed down , curtains blown with cardboard by my wife outside, a second in a hall outside the room (right) with strong orange gel and a grid-snoot to control spill, shot into a mirror to gain distance in the narrow hallway. Additional light from a oil lamp allowed to burn in for ½ second.
For more of my work visit. www.TheLightWhisperer.com
The cable guy came by today. I had him pose for this quick portrait.
Strobist: B800 Boomed & Dished Front and Above. ABR800 Front and Below w/ 30" Moon Unit. SB28DX on background and SB28DX's Super Clamped onto background supports back left and right.
Christmas was good for Swet. I wanted to do a quick shot to showcase the photog booty. Since the CyberSyncs are made by the same people as Alien Bees, I wanted to give it a little creepy alien feel. So I went with an abstract green background.
Strobist: One SB-600 bounced into white foamcore at 1/16 to left of CyberSyncs. A white v-card to right of subject for fill. Another SB-600 camera left, gelled green and shot through a plastic laundry basket at 1/4 for background. CyberSyncs are sitting on a piece of acrylic on top of a piece of black foamcore.
Final image can be found here: www.flickr.com/photos/23145928@N06/3176929185/