harold_gough
-
Posts
624 -
Joined
-
Last visited
Content Type
Profiles
Forums
Blogs
Events
Downloads
Gallery
Store
Posts posted by harold_gough
-
-
<p>This may be of interest:<br>
<a href="http://www.fredmiranda.com/forum/topic/663112">http://www.fredmiranda.com/forum/topic/663112</a></p>
<p> </p>
-
-
<p>"This posting has been flagged for removal. <a href="http://www.craigslist.org/about/help/flags_and_community_moderation">[?]</a></p>
<h5>(The title on the listings page will be removed in just a few minutes.)"</h5>
-
<p>I found some of the Jenazooms good for macro with my E-P2.</p>
-
<p>I found this:<br>
Any macro user comments would be welcome.</p>
-
<p>I have just ordered an EM-1 body, having used my OM T series flash units in manual mode very successfully with my E-P2 (having to remove the VF-2 to do so). I will continue to do this with the EM-1 but want to consider off-camera options for flash fully functional TTL for macro.<br>
I don't find the Olympus website very informative. I am look for e.g. the equivalent of the T28 twin macro unit, with variable power and wireless control. In other words, using flash on the hotshoe is not the best option. ((I run a cable from the hot shoe for my T units).<br>
I hope my request for a brochure will be fruitfull but they couldn't even supply one for the EM-1 when it was on sale!</p>
-
<p>I have recently obtained a 105mm Printing Nikkor and am using it for macro. Find my images and comments in topics here:<br>
<a href="http://www.fredmiranda.com/forum/board/45">http://www.fredmiranda.com/forum/board/45</a></p>
-
<p>I have asked this question of one of the world's leading experts on macro lenses and was told that there was no definitive answer. As focal length is about angle of view, as is magnification, the best starting point might be to set the focal length of the lens in use and increase that in approximate proportion to the increase in linear magnification.</p>
-
<p>You need a macro lens which will give you 1:1 and a high-diopter supplementary, such as the Raynox or a Marumi Achromat +5. Softbox flash will help.<br>
Great quality can be obtained from Schneider enlarger lenses (one swith adjustable diaphragms) on extension tubes. The S or HM series give the best quality. Flash or a tripod would be essential.<br>
<br />An alternative to submersion might be to rub the surface with oil, such as olive oil, if acceptable but beware of added reflections.</p>
<p> </p>
-
<p>Paul,<br>
I had the same questions for m4/3. I now use them all the time:<br>
Essentially, unless you are using them for macro, in which case you have to use some kind of exposure compensation for the magnification factor, you can use the sensor in the T32 to meter. Any T-Series gun(s) linked to the the T32 by T series TTL cords will be controlled by it.<br>
There is no possibility of TTL metering for T-Series flash with 4/3 or m4/3<br>
However, for macro I mostly use full manual.</p>
-
<p>If you want to see what macro specialists do and what they use, look here:<br>
<a href="http://www.fredmiranda.com/forum/board/45">http://www.fredmiranda.com/forum/board/45</a><br>
Actual hardware is discussed here:<br>
I recommend fitting an achromatic diopter, such as a Marumi +5. It is a myth that diopters do not require additional exposure. Any increase in magnification requires longer exposure for a given aperture/ISO combination. That said, is may be so small that you don't notice and is easily dealt with by post-processing.<br>
Your biggest problem is going to be lighting/reflections and diffusion may be the wat ro go.</p>
-
<p>I have that lens. (Mine is a rare Canon FD mount, adapted onto m4/3). The macro performance is outstanding with digital. It at least matches that of the Leitz (Leica) Elmarit 60mm macro, which had been used to improve on my Tamron SP90mm 2.5 macro, itself something of a legend.<br>
The Series 1 is made by Kiron. The lens also gives excellent colour and contrast for everyday subjects. For higher magnifications I attasch a Marumi Achromat (that bit is imporatnat) +5 supplementary lens, available in various filter sizes, you need a 52mm. I like the long working distance of the 105mm.<br>
Kiron teleconverters (x1.5 or x2) are also available, cheaply, in various mounts and will give you increased focal length/magnification at the same working distance. They are of the same high quality as the lens.<br>
The Vivitar camera is fully manual but it has a TTL meter. Film camera bodies contribute very little to image quality, compared with digital ones. The important part is the lens.</p>
-
<p>It isn't really about the camera so much as about the lens. I use an EP-2 for all my macro and I use film lenses (manual aperture) via an adapter. Kiron give excellent results and are available (used only) in various mounts. The 75-150 does 1:4 on fill frame, so 1:2 on m4/3. I also use legacy flash guns on the hotshoe. An Olympus T32 will meter itself (you may have to lie to it about ISO to allow for the magnification factor for exposure.).</p>
-
<p>It seems that you are getting a form of Newton's Rings, familiar to users of plain glass mounts for film transparency projection. You need to get the elements re-cemented by a qualified repairer.</p>
-
<p>I shoot ORFs with my EP-2. I have compared coverting them to JPEGs and to TIFFs to process in Photoshop and its plugins, the TIFFs then converted to high quality JPEGs, all conversion in Olympus Master 2. The results via TIFFs are clearly superior, with more detail and without JPEG noise when resizing for website posting at 1,000 pixels wide.</p>
-
<p>"Conditions don't get much better than this"? It looks like you used a telephoto where there was thin mist. The effect is much like doing so through a heat haze. In other words, the misty effect is compressed and thus more prominent.</p>
-
<p>The best way to learn is to study specialist macro forums.<br />As for combinations, I have used prime plus achromat supplementary and long extension and have even put a (high quality) TC in that lineup. The advantage of supplementaries is that they do not add diffraction in the way that teleconverters do. You can even stack two of them with no obvious loss of quality.<br />I tend to give more details of my gear than do many macro specialists. Put my name and/or e6filmuser into a Google image search. (NB Because of the way Google works, not all the images returned in the search result will be mine, this effect increasingly so as you scroll down).</p>
<p> </p>
-
<p>A focusing rail or tripod is of limited use in the open air, as many subjects are resting on foliage which is moved by any air movement. Better to hand-hold and focus by moving the setup. You shouldn't need flash at 1:1 in in good light.<br>
Study macro forums.</p>
-
<p>I shoot all kinds of insects, from dragonflies down to tiny fies and beyond.<br>
Forget the tripod and rail, unless weather conditions are unsuitable for insect flight i.e. cold and/wet.<br>
Use the behaviour of the subject to get close. Dragonflies tend to have favourite perches. If you wait next to the perch, you may be surprised how tolerant they are of approach without sudden movments. Try not to fiddle with focusing rings, etc and focus by positioning the lens.<br>
I use both natural light and flash but prefer the former.<br>
Look at there macro forums, where some photographers say what lenses they use:<br>
<a href="http://www.fredmiranda.com/forum/board/45">http://www.fredmiranda.com/forum/board/45</a><br>
<p> </p>
-
-
<p>A teleconverter will give you further flexibility.</p>
-
<p>Thanks for the explanation. I wondered what it was all about (E-P2). I have also been thrown by images from the latest session sometimes being stored at the start, rather than, as expected, at the end of the list. I think this is an annual event but can't remember.</p>
-
<p>Having used adapters for several decades, but rarely with a wide aperture, I have never encountered a problem and don't expect to.</p>
-
<p>Just a suggestion: Maybe the 100mm is not turning quite far enough to lock properly.</p>
Reversed 50mm Focusing
in Nature
Posted
<p>Turning to matters of focusing and magnification:<br>
I use either variable focus or fixed focus manual focus film lenses for macro. Some may be used reversed. Where there is a focus ring I may set focus approximately with the ring but that nomally means the lens is using internal extension and changing magnification. Most focusing is done by bodily or arm movement to get the camera/lens combination at the right distance from the subject.<br>
The general principle to keep in mind is that even a specialised macro lens is optimised for a specified magnifcation or range of magnifications. That may change when the lens is reversed but will have a similar range of magnifications at which it performs best.</p>