BIG Problem with Pentax m 100mm f4 Macro

Just picked up a Pentax m 100mm f4 Macro with dental scale and decided to give it a test run in the yard.
1st under natural light on Helicoid K for 1:1 (clover blossom).

Plant Photography, Clover Blossom, Pentax Helicoid, Pentax M 100mm Macro, Pentax K1, Macro, Macro Photography, 1:1 Photography, Closeup Photography, Fine Art Photography

Next I tried 1:2 with diffused flash (bee).

Then I tried to lay stealth in some bushes but could never seem to lock focus before subject skittered away.
Took a while to figure out the problem.

Cat Photography, Cat, Pentax Helicoid, Pentax M 100mm Macro, Pentax K1, Macro, Macro Photography, 1:1 Photography, Closeup Photography, Fine Art Photography
DO NOT let the cat join you on that Macro outing.
Really like this lens, seems to produce as well as my copy of the Tamron 90.

Picked up this lens to try with IR as the Tamron 90 macro suffers from hotspots. It performs stellar with the Tiffen 87.

 

Read more at: https://www.pentaxforums.com/forums/14-general-talk/368627-big-problem-m100-macro.html#ixzz5J0KpmTIN

Bodie State Park in Infrared

It’s been a couple months since I’ve taken the time to photograph, so decided to do my usual spring adventure to Bodie State Park and try some infrared photography with the Lensbaby Twist 60.

Bodie, Ghost Town Photography, Lensbaby Twist 60 Optic, Petzval Effect Photography, Petzval Effect, Pentax K1, Infrared Photography, R72, IR, Infrared, Fine Art Photography

Made the trip simple, using one lens and one filter. Though I usually prefer the effects of the Tiffen 87, this time I decided to use the Hoya R72 so I would have some images to convert to faux color. The images I didn’t convert I left in the normal blue/red this filter produces rather than converting to monochrome.

A gallery of Bodie State Park artifacts and another of buildings (faux color).

Steinheil Cassarit and Ultraviolet Photography

I’m finding ultraviolet photography to be one of the biggest challenges I’ve come across in the photographic process in years. Such a huge learning curve.

Due to the short bandwidth of ultraviolet light, the reflective transmittance doesn’t seem to travel as far as visible light, plus this also causes a focus shift issue as photographing in infrared does.

With the sensitivity of the converted camera, I have been able to pick up the ultraviolet spectrum at a decent iso (around 800 – 1600 as opposed to 200 – 400) and live view permits achieving a fine focus if I take the time to really review and adjust before I shoot.

More of the problem seems to be in the lenses. Glass, air space and the cement used to join elements in a lens all interfere with the UV transmission. True UV transmission lenses (made with quartz-fluorite elements instead of glass) are still manufactured and a few older ones can be found second hand but these are way beyond my price range at an approximate cost of $3000US and up.

Fortunately ultravioletphotgraphy.com has a list of true and “accidental” lenses for ultraviolet photography work. I managed to pick up one of the Steinheil 50mm Cassarits recently and imediately noticed a difference. While not a spectacular shot, it is the first time I’ve been able to achieve focus on any subject farther away than about six inches.

Cat Photography, Animal Photography, Cat, Steinheil Cassarit 50mm, Pentax K1, UltraViolet Photography, UV, UltraViolet, U360 Filter, 360nm Photography, Fine Art Photography

This was shot midday 1/4 second, f8, iso 1600 using a Hoya U360 and S8612 bringing it to around a 360-365nm light source. The Steinheil triplets have been tested to have a cutoff of around 320nm. I am looking forward to testing this lens (as well as an older Cassarit 100mm) with a Hoya U340 to see if I can achieve a deeper UV cutoff point.

Cat Photography, Animal Photography, Cat, Steinheil Cassarit 50mm, Pentax K1, UltraViolet Photography, UV, UltraViolet, U360 Filter, 360nm Photography, UV false Color, Fine Art Photography

Here is the same photo with false color applied.

Pinhole Ultraviolet Transmission Lens Test

Learning Ultraviolet Photography is proving to be such a challenge it reminds me of when I first picked up a camera. How wonderful to be able to shoot 35 photos and not find a single keeper. Reminds me of the film days. I’m finding that trying to imagine how an image will appear, when the focus is using non visible light, has many variables that can affect the outcome.

One of course is the light source. If you don’t have full sun cover, using a dedicated light for a specific bandwidth or a full spectrum flash is essential. Next is choosing quality filters that absorb all light not wanted to affect the image. Also, I’m finding that the lens choice is just as important as the light source itself. Very few lenses are truly dedicated UV lenses made from quartz rather than glass, so the challenge is finding “accidental” lenses that permit good UV transmission.

Below is a basic test I used to determine which of my older lenses would permit the best UV transmission in the 360-365nm bandwidth. I used a pinhole cover with a dedicated Hoya U360 and BG40 filter stack to eliminate all light in the visible and IR range. I used a white plastic as the background and focused a dedicated 365nm light on it. White balance was done on the background. Exposure time was 15 sec and iso 1600. All phtos were post processed with the same settings.

All lenses tested were set to f4 and the rear of the lens was set at 2 1/2 inches from the background. Lenses tested were the Lensbaby Sweet 35 and Edge 80 optics, the Lensbaby Twist 60 and Selective Focus optics, an El-Nikkor 50/4 and Meyer Optik Domiplan 50/2.8 and Helios 44M 58/2. The Domiplan is supposed to transmit down to 345nm from other test located on ultravioletphotography.com (great reference site). The El-Nikkor is also supposed to be a good transmitter. The clearer the light through the lens itself signifies better UV transmission, purple signifies the worst.

From my basic, non-scientific test I was suprised to see the Lensbaby Soft Focus optic seems to perform as well as the Domiplan and both the Lensbaby and Zeniton 35mm lenses performed well. The Zeniton 135 performed poorly, even though it is the same optical construction (4 element / 4 groups) as the Zeniton 35.

Test are as follows:

Lensbaby Sweet 35 and Edge 80 optics

Ultraviolet transmission test, Pinhole Optic, LensBaby, Sweet 35 optic, Edge 80 optic, Hoya U360 filter, 365nm light, UltraViolet, UltraViolet Photography, 365nm Photography, BG40 filter, Bishop CA

Lensbaby Twist 60 and Soft Focus optics

Ultraviolet transmission test, Pinhole Optic, LensBaby, Twist 60 optic, Soft Focus optic, Hoya U360 filter, 365nm light, UltraViolet, UltraViolet Photography, 365nm Photography, BG40 filter, Bishop CA

El-Nikkor 50/4 and Domiplan 50/2.8

Ultraviolet transmission test, Pinhole Optic, LensBaby, El-Nikkor 50/4, Meyer Optic Domiplan 50/2.8, Hoya U360 filter, 365nm light, UltraViolet, UltraViolet Photography, 365nm Photography, BG40 filter, Bishop CA

Zeniton 35/3.5 and 135/3.5

Helios 44M 58/2

Ultraviolet transmission test, Pinhole Optic, LensBaby, Helios 44M 58/2, Hoya U360 filter, 365nm light, UltraViolet, UltraViolet Photography, 365nm Photography, BG40 filter, Bishop CA

UltraViolet Photography and Lensbaby

UltraViolet Photography and Lensbaby

Recently I have begun trying to work with UltraViolet light and my full spectrum K1. I’m enjoying it very much as the learning curve is proving to be a real challenge.

Most of my older lenses (and non of my newer digital) transmit the UV spectrum very well but I’ve been lucky enough to come across a few that are permitting me to do a some hand held shots. I’m finding simpler lenses with fewer elements and cemented groups seem to be working best so far. I’ve picked up a few 4/4 Zenitons and hope to show the results later in the spring during the wildflower season.

Here are a few using an older Lensbaby Soft Focus optic. It is 2 elements in 1 group.

The following are the exposure settings, filters and light source I used while photographing a White Geranium.

All were shot at f5.6 and on a 25mm tube.

Plant Photography, Geranium, Flower, Lensbaby Soft Focus Optic, Pentax K1, Macro, Macro Photography, 1:2 Photography, Closeup Photography, UltraViolet Photography, UV, UltraViolet, U360 Filter, 360nm Photography, Fine Art Photography

1st image is shot with U360 & Kolarivision hotmirror filter stack, FS converted speed-light, iso 800, 1/90th.

Plant Photography, Geranium, Flower, Lensbaby Soft Focus Optic, Pentax K1, Macro, Macro Photography, 1:2 Photography, Closeup Photography, UltraViolet Photography, UV, UltraViolet, U360 Filter, 365nm Photography, Fine Art Photography

2nd with U360/Kolari hotmirror and a dedicated 365nm flashlight, iso 800, 1/45.

Plant Photography, Geranium, Flower, Lensbaby Soft Focus Optic, Pentax K1, Macro, Macro Photography, 1:2 Photography, Closeup Photography, UltraViolet Photography, UV, UltraViolet, BG3 Filter, 365nm Photography, Fine Art Photography

3rd with BG3/Kolari hotmirror and dedicated 365nm flashlight, iso 1600, 1/90th.

Lensbaby Twist 60 Optic

Last month I purchased the Lensbaby Twist 60 Optic.

It is based on the Petzval design and is supposed to produce a swirl of bokeh, much like the older Helios lenses. I had been curious about it since it was released but also very hesitant as most of the uses seemed to be focused around portraiture photography. As I rarely shoot pictures of people, I wondered how this style of lens effect would work with inanimate objects also.

At wide open f2.5 & f2.8 the swirl effect of the Twist 60 optic is very pronounced.

It does mild down significantly by f4 – f5.6 and is almost non existent by f8 producing a normal view from any standard lens. I found the wide open swirl effect to be a little distracting but really do like how a minute amount of swirl from the f4 – f5.6 range does make the subject stand out a bit more.

Where this optic really shines for me is mounted on a 25mm extension tube, bringing it up to almost a 1:2.4 magnification macro.

I did try it on a 44mm tube but didn’t like the effect as much as the 1:2 ratio.

Though I occasionally find a use for the Sweet Spot or Slice Focus of my other Lensbaby optics, my favorite optics so far have been the Zoneplate and Plastic. I’m quickly seeing the Lensbaby Twist 60 optic will join those two.

Something about the “so called” imperfections of early film photography appeals to me.

 

Macro Photography Lens Stacking

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.

Lens Stacking, Lens Reversal, Pentax M200/4, Rodagon 105/5.6, Bishop CA, Pentax K-1, Macro, Macro Photography, 2:1 Photography, Closeup Photography, Extreme Macro Photography, Fine Art Photography

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.

Lens Stacking, Lens Reversal, Pentax M200/4, Rodagon 105/5.6, Bishop CA, Pentax K-1, Macro, Macro Photography, 2:1 Photography, Closeup Photography, Extreme Macro Photography, Fine Art Photography

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.

Lens Stacking, Lens Reversal, Pentax M200/4, Rodagon 105/5.6, Bishop CA, Pentax K-1, Macro, Macro Photography, 2:1 Photography, Closeup Photography, Extreme Macro Photography, Fine Art Photography

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.

Lensbaby Plastic Optic Revisited

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.

Plant Photography, Iris, Lensbaby Plastic Optic, Bishop CA, Pentax K1, Macro, Macro Photography, 1:2 Photography, Closeup Photography, Flower Photography, Fine Art Photography

These were taken using a de-glassed Takumar-A TC for an extension tube, approximately 27mm in length, giving around 1:2 magnification.

Plant Photography, Iris, Lensbaby Plastic Optic, Bishop CA, Pentax K1, Macro, Macro Photography, 1:2 Photography, Closeup Photography, Flower Photography, Fine Art Photography

Very pleased with he results and really like the soft focus effect the lensbaby plastic optic offers.

And a few with IR:

Lensbaby Plastic Optic

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.

Selective Focus Photography, Plastic Optic, LensBaby, Exa Camera, Pentax K-01, Bishop CA, Owns Valley CA
Lensbaby Plastic Optic @f8

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.

Selective Focus Photography, Plastic Optic, LensBaby, Exa Camera, Pentax K-01, Bishop CA, Owns Valley CA
Lensbaby Plastic Optic @ f4

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.

Selective Focus Photography, Plastic Optic, LensBaby, Exa Camera, Pentax K-01, Bishop CA, Owns Valley CA
Lensbaby Plastic Optic @ f2.8

And a few from the filed

Lensbaby + Pentax K-1

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

Selective Focus Photography, Double Glass Optic, LensBaby, Bird Photography, Egret, Wildlife Photography, Pentax K-1, Bishop CA

Winter tree with single glass

Selective Focus Photography, Single Glass Optic, LensBaby, Monochrome Photography, Monochrome, Pentax K-1, Bishop CA

Winter pasture with single glass

Selective Focus Photography, Single Glass Optic, LensBaby, Monochrome Photography, Monochrome, Pentax K-1, Bishop CA, Owns Valley CA

Pentax A50 f2.8 macro & K-1

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.

 

Rodeo Photography

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.

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