Lens for tabletop needlework photography

[mark_dalrymple1]

Hi,

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I'm going be doing a lot photography of needlework, particularly small-to-medium 3D embroidery projects (dimensional stitching,

stumpwork, etc), the whole scene probably no more than two feet by two feet - things like the cover of this magazine: <a

href="http://www.interweave.com/needle/piecework_magazine/default.asp">(July/August Piecework Magazine</a>, the primary object

there is about the size of a teacup. Sorry it's not a larger picture).

 

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In addition to these larger still-lifes, being able to do close-ups of individual pieces would be a plus. I have a 60mm micro nikkor, but at

frame-filling sizes, getting the DoF I want is tricky, but the tabletop is more important than this.

 

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From what I've been reading, a PC lens is what I'll be needing to get good DoF across the entire frame. I'll be using a D3. I have three

questions:

 

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1) Which of the three new PC lenses would be best (24, 45, and 85mm) for the 2' x 2' tableau? Is it sufficient to take practice shots with

a regular lens at 24/45/85, and whatever is best looking there (e.g. in terms of possible wide angle distortion), use the corresponding PC

lens?

 

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2) Will I need to get the lens serviced by Nikon to have the angles shifted by 90 degrees? I'm not entirely sure what that means, but I've

seen it referenced by Ken Rockwell (yeah, I know) saying these are set the wrong way for tabletop and landcape, but elsewhere saying

that by default they're better for tabletop; but not landscape, which would need to be rotated. I wouldn't mind using the lens for

landscape, but tabletop is my intended use.

 

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3) What am I forgetting to ask :-) Is some other lens / technique more appropriate?

 

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Thanks!<br>

++md

[Jerry_]

If you have a Nikon D3, you could try to rent a AF 20mm f2.8D Nikkor lens to see if that will work on a tripod for more working space. If you sent the camera to the 5:4 format, you will have up to 8x10-inch images without cropping edges as you shoot.

[tommyinca]

I don't have experience on Nikon Tilt/Shift (T/S) but do use Canon's tilt and shift lens from time to time. Unless you

have no working room, If possible, I would avoid 24mm T/S to avoid CA (color shift) at the edge of the shift. These 24

mm T/S lens has very large image circle like a medium format ultra wide angle lens, very hard to make it without

CA. CA on T/S lens are also very hard ro correct with standard RAW converter or editing software. The center color

are off when you correct the edge. You will have to do it with mask(s). I would choose the focal length base on how

much room you think you will have. Get a feel with a zoom lens first. If it is really tiny, work with 24mm, it is not

impossible still.

 

I would also not do the T/S configuration change unless you work with it for a few months first. You don't even know

you are left or right haned at this point :-)

[tommyinca]

Correction; Center color here refer to the oposit edge of the picture (The lens is shifted remember?)

[dan_brown4]

Ideally, the 85 Nikkor T/S would be the way to go. You might try experimenting with a wider lens, and maximizing the DOF, and

going to pretty much "square" shooting, but it is tough. I've had decent luck with the 35/2 Nikkor on a DX body, because it has

good close-focus ability. I've worked a fair bit in firearms photography, which is about the same images sizes you are working

with. I don't have the 85 t/s, but I wish I did.

[conrad_hoffman]

I do a lot of macro photography with impossible DOF requirements. Tilt and shift only helps you if the subject is in one plane. One alternative possibility is to download a copy of CombineZM, shoot a series of images with different focus points, and combine them. With the right subjects (not moving) and the right techniques, the results can be remarkable. IMO, you should have as many tools in your bag of tricks as possible.

[SteveH]

I use canon's version of the tilt/shift lenses for both landscape and macro photography. They come stock with the tilt

arranged in one plane and the shift arranged 90 degrees opposite. I've found situations where I wanted both actions in the

same plane, and others where the opposite is true, so on balance I don't think that paying to rotate the tilt mechanism is

ultimately worth it. The tilt feature is useful if you want to change the plane of focus; read about the Scheimpflug effect -

familiar to view camera users. The tilt does not change the depth of field, it only changes the plane of focus. You still need

small apertures to get greater depth of field. The D3 has a live view feature and you can use this to preview your

focus and histogram before making the exposure.

[walterh]

Have a look at Helicon focus. If you are good at post processing this might be a way to go. You could use a cheap

lens like the 50mm f1.8 AFD. This might give you some feel of what you can do and what equipment you really need.

You will need to think about light too. Try to read up on illumination and natural light and experiment. There is

more to it than just a new lens. It all depends what level of perfection you need. It is fairly simple to jzst

show your product for ebay sales but more difficult to get a cover story.

[walterh]

Sorry I did not see Conrad's response on my small laptop screen ^^. CombineZM is a similar software (to Helicon Focus).

[mark_dalrymple1]

Thank you everybody for the responses! I had not considered using focus bracketing software before, and will definitely

look into it. I've heard of the Scheimpflug Rule, but have not had a chance to apply it myself (I was a view camera

assistant and sherpa in my misspent youth, but never actually operated one) Am I correct in thinking that if I can get

the plane of focus parallel enough to the tabletop, and then a small enough aperture for the DoF to extend throughout

The Stuff, then that should be in-focus from end to end?

 

A little more story with what I'm planning on doing - the pincushion on the cover of that magazine is my wife's, and she's

starting to build a name for herself in embroidery design and teaching. I'll be shooting works in-progress (for instructional

purposes, most likely both online and in printed material), along with "deliciously wonderful" covers for packaged charts

and whatnot that will be displayed in stores (printed) and for personal promotional material (printed and on-line). Nothing

larger than the typical 8 1/2 x 11 paper, maybe a larger poster-size one or twice a year for trade shows.

[joseph_wisniewski]

Mark, I'm going to throw in with Conrad and Walter on this one. I normally use CombineZ for this kind of work. I have a bellows with T/S capability (Nikon PB-4) and easy access to Bryce's 85mm tilt/shift Nikkor, and I find the focus stacking technique to produce the most satisfactory results.

 

Wouldn't want to do it if I had to produce 100 images a day, but for covers, you can't beat it.

[alex_lofquist]

This is an excellent application for the Nikkor 85mm T/S lens. It would help if it has been modified for parallel action where the tilt and shift go together, rather than at 90 degrees as it is supplied by Nikon. It is an exceptionally sharp lens at most apertures, so working with different apertures for appropriate DOF is not generally a problem.

[mark_dalrymple1]

Walter : I looked at Helicon Focus, and it's really cool. A 5-minute macro session with my CheapAssLightBox + 5 minutes

downloading the software and making an image that's pretty much sharp end to end. Thanks!

[walterh]

Mark I am glad it worked out for you.

[joseph_wisniewski]

Mark, welcome to the world of "computer assisted photography"...

 

There's so much you can do that way. Focus stacking, panoramic stitching, high dynamic range photography...