As I’ve mentioned on my macros page, I’m not a macro photography purist.
I don’t focus on achieving a 1:1 life-size ratio when photographing a subject.
I do prefer using dedicated macro lenses (at least close focus) or macro techniques while doing close focus work as I find there is less distortion than with wide angle lenses.
I also enjoy trying anything that will spur my creativity.
This last winter, I was reading a website on extreme macro photography lens stacking and came across an article about using the Pentax M200/4 as a barrel lens for micro-photograpy work.
Extreme-Macro is a fantastic site for studying anything to do with close focus work. There is a wealth of information ranging from techniques to lenses, lighting or magnification calculations.
The page I stumbled upon mentioned the Pentax M200/4 as a wonderful lens to couple with a microscope objective for extreme work.
As I have an old M200 that doesn’t get used in this digital age, I decided to pull it out and see what I might be able to do with what I already had on hand or at least low cost investment.
A 52mm-52mm coupling ring, a 52mm-40.5mm step-down ring (which I did have to buy) and my old Rodagon 105/5.6 enlarging lens reverse mounted.
I must admit here that I am often lazy about using a tripod unless doing night shots and still prefer using an optical viewfinder over the rear lcd so achieving and maintaining focus with any depth of field would be a challenge.
I was surprised at how easy this combination was to hand hold and still achieve nice photos with a magnification of approx. 1.9:1.
Also, it was a fantastic pleasure to view something larger than life and try to see it in an artistic style.
Next I tried a reverse mount combination of the M200 with a Sigma 24/2.8 for a magnification ratio of approx. 8.3:1.
The added weight of the Sigma made it much harder to handhold but still produced nice results, though even at f16 the depth of field is very shallow.
This will take a lot more practice to get the my creative sight going.
I have been enjoying this new artistic view of the world so much that I just purchased an old EL-Nikkor 50/2.8 enlarging lens to use in the field (don’t want to take my Rodenstock out into the elements)
and am now on the hunt for an infinity focus objective plus adapter.
Testing the Tiffen #87
Recently I picked up a NIB Tiffen #87 Infrared filter to see if I would enjoy working more with the shorter IR wavelengths (to produce a truer Black and White image) or if I wanted to stay with the 720 and under filters to achieve some color from visible light.
I have always preferred viewing B&W photos and movies to color and when I hold an image in my mind it is almost always in B&W.
The 87 comes in around 795 or just at the baseline of the IR spectrum. Not quite as black as the 093 (830) or 87c (850) but still dark to the human eye.
I do like the contrasty effect the monochrome images have over the false color, though it is difficult to achieve focus.
The majority of my favorite lenses are still manual focus, so I will just have to practice more.
If you can find this filter it is made of glass with a metal ring and well constructed, plus it comes in at about 1/2 the price of other name brands.
I find the images comparable to the Lee 87 film filters for those who already have a holder system.
I did notice under the right light and white balance there were a few shots that did have a hint of blue sky after an attempt at color swapping.
Very busy this month but I was able to revisit the Lensbaby Plastic Optic and play with a bit of Macro Photography in the yard.
These were taken using a de-glassed Takumar-A TC for an extension tube, approximately 27mm in length, giving around 1:2 magnification.
Very pleased with he results and really like the soft focus effect the lensbaby plastic optic offers.
And a few with IR:
Recently picked up the Lensbaby Plastic Optic.
I arrived at Lensbaby to late to buy the original optics as a kit and started with the Sweet35.
Though the Lensbaby system isn’t for everyday shooting, I really enjoy the special effects they create.
Think I own all of the original optics now plus the Sweet35 & Edge80.
Of all of the first generation plug ins, I think the Zoneplate and the Plastic are my two favorites. Really enjoy the vintage Holga or Dinah look this optic creates.
And a few from the filed
Added a couple of new lenses to the infrared photography lens hotspot database,
the Pentax F300/4.5 and the Pentax F 35-70/3.5-4.5.
I remember trying Infrared Photography a few times in my film days and found it difficult and challenging.
It always seemed I was guessing the exposure time and the focus, trying to approximate the red line on the lens distance scale.
Winter Farm IR
Recently, I acquired a Pentax K-01 and had it converted to a full spectrum camera. Unlike film, digital sensors are sensitive to all light waves (UV, visible bands and IR) so most cameras use a hot-mirror to block the infrared bands and pass only visible light.
Winter Mules IR 1
Most conversions replace this hot-mirror and replace it with an IR based filter for a full time conversion, usually in the 720nm range. With the full spectrum conversion the mirror is removed and the IR filter is placed over the lens, much like the film days; however, unlike the film days I can see the image in live view just as if I was looking through a viewfinder.
Winter Mules IR 2
Apparently the new mirror-less systems make fantastic digital infrared cameras. They automatically set accurate exposure and the focus can be determined manually via live view or calibrated for auto focus. Another wonderful aspect of the K-01 is that it will take all my older Pentax K mount lenses.
Winter Tree IR
I now need to experiment with several to determine which will be good performers or or which will be susceptible to flares and hotspots. Infrared is often most noted for its use with contrast or faux colors with vegetation.
Faux Color IR Canal
Here are a few shots from the winter local scenery, a bit different but fun. I look forward to working with the camera as the spring green comes around.
Playing with the Lensbaby on the Pentax K-1.
Been busy with work and dealing with the cold weather so haven’t been able to do much in photography this month.
I did get enough time to take the older Lensbaby optics out and play with them a bit on the Pentax k-1.
Very different using the double glass and single glass instead of the newer Edge or Sweet models but found them very enjoyable to work with. Fun to have to think about the aperture one wants first and then install the disk as opposed to setting the aperture in the lens.
I did get lucky one day and had an Egret land in the artisian well I was working around using the double glass.
Egret with double glass
Winter tree with single glass
Winter pasture with single glass
Recently pulled out the old Pentax A50 f2.8 macro for a few shots of autumn leaves in the back yard.
This lens performs wonderfully on the new Pentax K-1. Though not a “true macro” with a reproduction of 1:2, I find the scale adequate and the IQ superb; plus it is such a joy to use.
I can see why vintage Pentax glass was noted for it’s quality, the colors are brilliant and the IQ is sharp for the area of focus. Bokeh is pleasantly pleasing also. This doesn’t seem to change on the new digital sensors either.
In fact, I find their performance is equal to or better than the newer digitally enhanced lenses.
Like most sports, players/contestants rely on knowing the strong points of their teammates and try to decipher the strengths, weaknesses and personalities of their opponents’.
Unlike most sports, rodeo is fascinating in that the teammates and opponents don’t think or act as humans.
The communication between rider and horse during a barrel racing or roping event is incredible.
Understanding their opponents’ traits during the bronc, bull or roping events is critical.
Rodeo contestants are true athletes and deserve far more recognition than they often receive.
(Recently submitted post to PentaxForums.)
I find it curious how we photographers fret so much over lens quality reviews or lens superiority AND I do understand the difference between precision engineered glass and a soda bottle.
It’s easy to blur/fade an image made from a lens transmitting great IQ but impossible to add detail from an optic that never saw it in the first place.
I was using PF long before I became a member (I know, my bad) because of the wonderful amount of knowledge shared here by fellow Pentaxians. The lens database is incredible, especially the coverage of vintage and third party lenses.
My ex girlfriend shoots Canon and doing a fair amount of research there, it seems nearly impossible to find any reviews on anything other than the “latest & greatest” (and never so much information in one place.) I sense PF members seem more concerned with sharing creative process than promoting Market Hype.
I curb myself as much as possible from LBA but do like to keep informed on lens performance (vintage and modern), especially the diversified hands on experience I find here. Reading a recent post on Lenses and the K-1, I was very pleased with a response by Noel Porter. “One of the key things with any lens is understanding it’s characteristics and using it’s strengths or avoiding it’s weak areas (soft corners wide open etc).” (Read more at: http://www.pentaxforums.com/forums/190-pentax-k-1/329374-my-k-1-wasted-my-legacy-glass.html#ixzz4JuFQw1zm)
I’ve always viewed lenses as paint brushes. An artist may use two different brushes of the same size or shape to achieve different desired effects.
My main workhorse lens is a Sigma 24-60/2.8, it provides consistently good IQ. It will never provide the color and smoothness of my M50/1.7, the sharpness of my A50/2.8 macro or dirty/gritty film feel of my Vivitar 35/2.8. The Sigma 70-200/2.8 DG OS USM is in no way superior to my old F300/4.5 for IQ, but is the “go-to” lens during low light, nighttime sports events (and yet it never finds itself in the vest pocket like the tak-f 70-200 on a day hike.) They each are what they are.
Still, one of my favorite techniques is – NO LENS PHOTOGRAPHY (IQ be damned) – images below.
Zone Plate on K3
Writing with light – The brush doesn’t make the painting, the painting dictates the brush.
I’m consistently impressed while reading an inquiry here on the forums, how often a responding member will ask for more information on someones shooting style, subject matter, etc. before giving a recommendation. Sometimes it’s the newest technology when appropriate but often members encourage us to explore the strong characteristics of what we might already have or can easily obtain.
I look forward to reading more “fretting” over lenses, you folks make it an enjoyable treat and me happy to be a member of PF.
Another Zone Plate