Macro++

That was some amount of rains that we received this week! It's just amazing, but sad in the same time because I couldn't do much with it. I'm not driving my car, and didn't do any photography in such weather (and it would be better to have weather-proof protection stuff). My car was supposed to get fixed this week as the garage called me and said the chip they need arrived from outside and needed my permission and my agreement for the price to work on. According to them, they said 1 or 2 days will suffice. But with such rains, I didn't get any calls yet. Probably the rains are the reason for this. I can't believe I will see this car again. I'm growing sick driving other cars.

Macro Plus

I've been continuing my work with trials to do macro shots (or extra macro I should say). The work wasn't much of a success in fact for many factors. It made re-think my approach to do the whole thing really.

The System!
Click to Enlarge

As you can see on the left, the system is truly cumbersome. Long set of lenses and extensions, portable monitor, (shaky) tripod and lateral arm, with weights (dumbbell weights) added inside a sack to keep the arm and tripod balanced. I didn't make a glass surface for the macro experiments but I've been using the glass door that fell from the cabinet (the one in the picture). Sorry about the image quality as the image was taken with my mobile. I kind of suck at such images!
For the purpose of lighting I've bought two somewhat powerful LED torches or flashlights that got about 24 LEDs on one surface, plus 3 or 4 on the side in case a narrow beam is required. I think I might need to add a mirror.

Leaf

One of the shots done with the system shown above is a shot for the surface of a small leaf. As you can see above, the image is out of focus. Focusing is one of the big issues here and this is why such system as the one above is a cumbersome technique. According to some websites (they are a lot you just have to Google around) the magnification factor can be found by: Focal Length (1) / Focal Length (2), that is, the ratio of the focal lengths of the two reversed lenses, where (1) is for the lens attached to the camera, and (2) is for the reversed lens.
Hence, it is logical to attach the longest focal length possible to the camera, and the smallest focal length possible in reverse. I think I will use the notation "FL1/FL2" when it comes to image descriptions later. In my case, the largest focal length I could achieve is using the (broken) Tamron lens at 300mm plus two teleconverters, yielding 1200mm in total. The smallest focal length that can be attached in reverse is 18mm (with my old 18-55mm), and the result would be 1200mm/18mm, equals to 66.66X or approximately 67X! Meaning an object would be magnified 67 times its original size! Unfortunately, this was just a theory and in practice, working with such tools isn't plausible at all and can hardly do any good. Thus, I've neglected this approach for the time being and started to do it in other ways, like using the Canon EF 100mm macro lens in reverse with the 50mm lens.

Shaving Razor

Onion Peel

One of the issues that I was investigating is the placement of the teleconverters and the extension tube before the first lens (or the primary lens, attached to the camera). In some websites, they emphasize the placement of the extension tubes in between the converters and the lens. However, practically, seems the situation is the same in terms of magnification power, but probably it works better with the teleconverters attached in between the tubes and the lens. Maybe it is just a coincidence that it worked that way with me anyway, as most of the images here like the Shaving Razor and Onion Peel were all taken with such configuration. Later on, however, I started to use that system without reversing the lens, but simply using the 100mm macro lens with extension tubes and teleconverters.
The light direction was drastic for some shots, specially for translucent objects. Again, No lens reversing this time but I did have hard time focusing. The shake took its toll on the shoot.

Comparison

The leaf shot above is taken once with LED lights below the glass plate, and once on the sides of the leaf. One of the somewhat awkward features for using LED lighting is the bluish streak. The Automatic WB setting wasn't enough to correct the colors but it was (somehow) corrected in post-processing. Anyway, it is obvious that the look changes drastically with the change of light direction, like if it s a 3D object. Personally, I do prefer the lighting on the sides. However, this might not possible all the time, as the set of lenses can get to the subject so close that leaves no room for the light on the sides, the lighting from below is the only solution.

Beard
Canon EF 50mm+36mm extension tube,
f/22, 40^-1sec, ISO400.

RoundFlash
Source: B&H

Along with it, I've decided to do some test for the RoundFlash. This time, it's not an extra macro shot but a simple one with my 50mm and 36mm tube. This simple trial did indeed show me how the length of the lens (not the focal length but the physical length) and the closest focusing distance do play a role when using this flash add-on. I think the optimal use would be for a lens that does not protrude much outside the limits of the RoundFlash and if the subject is considerably far from the RoundFlash to allow the light to fill it properly. Here with my beard experiment, the distance was so close (and literally part of my chin was inside the RoundFlash!) because of the extension tube, and that caused a bit of smooth light and shadows (but with the help of relatively high ISO as well). The RoundFlash seems promising but I'm sure it's not a complete replacement for the typical ring flash, and for that I did place several items in my B&H wishlist which are both, expensive and cheap.

Thoughts

With this work with some macro ventures, I've somehow formulated some ideas and thoughts that might lead my work in the future:

• Practically, using extension tubes alone is enough to get a magnified and well viewed image. I think I was obsessed with the idea of turning my camera and lenses into a microscope and I didn't look at the validity of such practice and how it would reflect on my artistic side.
• I've been using a remote cable with a delay, plus the 10sec timer in the camera itself, and yet seems the images do have a shake. Probably it is because of the mirror (even though I do use the LiveView mode to hold the mirror), and the mirror lock-up mode doesn't work with the remote cable and Bulb mode (as some of these exposures took a minute to achieve). There must be a way to reduce this shake at least if not stop it.#
• Because touching the system with so much lenses together does produce a horrendous shake on the macro level, probably it is better to move the plate or the surface and keep the system stable as much as possible; and this is exactly how a microscope works! This, however, requires some mechanism work!
• I do own an old microscope. Is it possible to implement that system into my camera and lenses? It is easy to talk about afocal system when it comes to astrophotography or bird watching; but on a macro level? I'm not sure if this is even possible.
• Aesthetically: what do I want? It is obvious in such field, most of the shots would be scientific-like or simply abstract. Now if it is an abstract, arranging the lines and the edges of the frame is of a prime importance. The possibility of such arrangement, though, is yet to be questioned and experienced practically.

These are some of my thoughts so far about macro (or extreme macro) shooting, and more work has to be done soon and yet I have to discover some good subjects to shoot at!

Nostalgia

Among the other things that I try to do to keep me busy, there are some photos that I've decided to turn into something else. simply by converting them to B&W. Probably I was looking for some venting for my feelings specially that most of these images are those taken while traveling. I guess it is a case of nostalgia, for some days that can't be repeated, not in the meantime at least, to say.

Ghostly Room (B&W)
The Victorian B&B, Staten Island, NYC.

Thornbrook House B&B (Re-Visited)
Cashel, Co. Tipperary, Ireland.

Re-visiting old photos and converting them into B&W can be fruitful in a new set of images, specially in a time where my activities are hitting low. However, the trend is always to convert color images to B&W (for various reasons and not merely just to change the feel), but would there be a trend of changing B&W photos into colored ones? I'm not talking about the technique of coloring the old photos and movies, like those documentaries done for WWI and WWII, but I'm talking about digital photography and RAW files. I remember one time I've created 2 albums for a set of photos from Ireland, in which one was colored and the other was B&W for the same set of images, but probably I've done that without thinking deeply into that matter back then. Initially, what I think, is that coloring that B&W images adds almost nothing, since the B&W gains strength in its composition in the first place, and in the tonalities involved second. The introduction of colors into images that are already strong and fine-looking in B&W seems to be breaking the harmony and should be avoided, unless there is some good reason to do this! Generally speaking though, the B&W style seems to be the proper representation for nostalgia after all.

Geltani

This project has been on hold for weeks. Anyway, I've started to work a bit more right now and I've almost finished the set of leading parts of the syllables. What's required now is to polish this set, and try more grammar and more sentences. Initially, the order is supposedly to be S.O.V., mimicking the Turkish grammar. On the other hand, there are still some details that should be worked out. I have to check how to make a simple introductory page for Geltani to represented on Omniglot, in case it is to be accepted. Moreover, the syllables to write foreign words and names into Geltani has to be checked out again since it seems that I've made up some mistakes before.

Finale

Currently, it seems that I'm under pressure to do the most I can do with my camera, just before my eyes get bitter sooner or later. Next Monday will be the day of my appointment to do some tests. I'm still waiting for my car as I see some hope that it will be fixed soon according to the garage's statement. All this time, they were waiting for the spare part to be delivered from outside, as it is cheaper than the local vendor. As soon as I get MY car, I have to plan for a trip to Failaka island. Such weather is not to be missed on the island!

Source: Amazon

I've mentioned before that doing a panorama with my new IR gel filter is on the list of things to be done. However, this can't be done right now easily after the wave of rains that we received this week, and needless to say that I do need some "nice" location, to say the least. Yes, I can do it at home, but I'm bored of this place already. On the other hand, I'm planning to put Allison Earnest's book into practice by implementing her ideas and methodology. The book is quite good and systematic in its approach. Probably it doesn't give much details concerning calculations and evaluations of light levels, but it does provide great deal about sculpting light and how to approach a project. My work though would be using my two speedlites with some of the light modifiers I have already. The difference is, with studio lights, you can use modeling light to properly position the light and check the expected shadows location before the actual shot is taken. However, with speedlites, the modeling is limited to the pilot button which casts a fast light strike into the scene. Thus, understanding the power of the speedlite is critical. I guess I will be starting with simple objects around the house.
Finally, this leaves me with my own self at the end. With all these projects in my mind and these trials to push myself to be active by force, all seems but just a trial to escape from my own feelings about life and my own self. I think I'm in a status where I'm not sure if I should embrace loneliness, or curse it. Even a loveless marriage didn't work out with me to leave this house. It does sound more like being in a jail rather than a home. Even a prisoner might have someone to talk to, to share thoughts with,  to have hopes with - yet, I don't see this coming my way at all. It's simply a dead heart walking...

Goodbye Tamron...

Here I am, after 2 weeks of being almost idle. As much as I hate to admit it, but seems my mood swings were at apex. The material I was trying to prepare for this post wasn't much as I couldn't work much with my camera. I was too lazy to touch it and prepare stuff for more nadir shots. Disasters didn't stop at this level yet, as you will be reading further!
On the other hand, I've started with the beginning of last week to do on some eye checking. From one clinic to another, and then to the eye hospital here (and let's not talk about the procedures and the hordes of people in the queue line). There is a big chance that I do suffer from retinitis pigmentosa just like my eldest brother and one of my sisters, but I'm not sure how dangerous my situation is. It was supposed to be a regular and a routine check up in fact, but oh well... I'm trying to cool myself down and enjoy my time as much as possible, with games and the camera when possible. I'm now waiting for November 25^th to do some eye testing and check with the doctor.

Nadirology

There were many struggles to take nadir shots (or shots pointing downward) specially that I don't have much means to handle the camera and make it hanging in a vertical position.

Source: B&H
FAIL!

One of the "toys" that were supposed to help me with this such task is the (crap) Delkin Fat Gecko Gator Camera Mount which caused me a disaster the last (and it was the first) time I used it. I left it unused after that failure but with my limited hopes in such tasks like taking nadirs inside rooms I've tried to work around it somehow, and the result was another failure and the device totally disintegrated, piece by piece. I'm simply amazed how come I'm the only one who made a negative review on this item on B&H website (or so it seems)!

Above Hall
Rokinon 8mm fisheye, f/16, 1.3sec, ISO500.

One of the trials to take such shots, like in Above Hall, I tried to improvise something: a hard paper bag with a hole at its bottom for the camera lens. However, this method didn't work out properly because the body of the camera is not uniform and the result is a tilted camera dangling from the light fixture; a situation that persisted in all situations almost. The camera could hardly be balanced straight. Probably it is time for more of DIY solutions with some metal work - or simply order something! I already had some hard time doing the same procedure in my bathroom. Anyway, I did take a twisted picture but I won't post it here for the time being.

Shots like Above Hall aren't something that I applaud but it did teach me some aspects about taking such shots in terms of composition. Probably a congested place is a good thing for such shots, because in Above Hall, the hall was empty almost and not many features are presented, making the shot somehow boring, unless you appreciate the minimalistic approach!

Geometrical Amuse
Canon EF 50mm, f/16, 8^-1sec, ISO800.

Not all shots, however, were for rooms (and I think I presented some 2 weeks ago). This time though I continued my work with the stairs but since shooting was awkward from upstairs to downstairs, this time I decided to put my monopod to some good use. However, using such a method and dangling the camera (with the portable monitor connected in hot-shoe) calls for a higher ISO to fasten the shutter speed ad get a stabilized image as much as possible. Geometrical Amuse is one portion of an image taken this way (with others being shaken and blurred). The crop changed the perspective of the whole image from landscape to portrait. Again it is a combination between abstraction and minimalism I suppose. Still, I didn't get enough amuse from such shots yet. Probably I should consider doing "zenith" shots frequently as much now with the hardships taking such nadir shots. I have to concentrate also on doing nadir shots on objects and other minimal features and not necessarily rooms or landscapes. Landscapes, however, are a good target for a monopod raised up with the camera!

Micro Macro

After such many failures doing nadir shots, I've decided to move my point of interest into another field: Macro photography. Or maybe I should say, Extra Macro Photography.

Source: Amazon

R.I.P.
Tamron 70-300mm
Source: B&H

This change of interest in fact resulted in a disaster in the beginning. My Tamron 70-300mm lens got broken as it was connected in reverse with the Canon EF 50mm. I'm not sure what went wrong but seems I've used some power where it shouldn't be, specially that the body of the lens is plastic. What has been broken is the mechanics for zooming in and out. Thus, with any connected material to the front of the lens, it might make the lens front be dragged forward. However, I can still pull in and out the lens and the focusing mechanism is still working (manual focusing that is, I didn't try the AF!). It did some nice job for some time, but anyway, for the time being, it seems it is time to get a real telephoto lens other than this cheap choice. It was a matter of time. Anyway, with Tamron broken, I do get some choices now and maybe I have a bit more guts to manipulate this lens further somehow (and maybe try to disintegrate it and see what's in!).

Cutter Edge
Canon EF 50mm (R), Canon EF 100mm macro + 36mm extension tubes,
f/32, 60sec, ISO400.

As you can see from Cutter Edge, I really didn't have much of good targets. In such trials I just picked the paper cutter to shoot at some of the corrosion on its surface. I made several trials here with Tamron and Canon EF 100mm macro lenses, but this is my first time to use extension tubes in such macro shots, and I'm not quite sure if this is really effective in increasing the zooming power. I need to do a comparison between the two cases and see if extension tubes do really help. Extension tubes are normally used for macro photography but with the purpose of reducing the minimum frontal distance between subject and the lens. The situation here though when reversing two lenses is different though. Just to note, with direct measurements the distance between the 2 grooves in the image above is about 0.5cm (~0.2 in), and when the image was taken the distance on the image was around 22.6cm (~8.9 in). By finding the ratio between the two, the result is 45.2. Does that mean that the magnification factor for the whole system is x45? I'm really not sure how this is calculated. Anyway, we can still get awesome results!

Fibers
Canon EF 50mm (R), Canon EF 100mm macro, 36mm extension tubes,
f/32, 60sec, ISO400.
Portion of my blanket!

In the meantime, I'm trying to understand the processes behind reversing the lenses and seems I got the general image:

1. Seems the first portion of the system is supposed to enlarge the subject with the reverse method. In my system this is done with the Canon EF 50mm lens. There are adapters, however, used to adapt a lens directly to the camera body in reversed position and they are efficient as well.
2. The second part of the system is to enlarge the image taken from the reversed lens in step No.1, at least this is how I understand it. This was evident when I changed the lenses from the Canon EF 100mm macro, to Tamron 70-300mm and trying the lens at 300mm. The blade of the cutter in the first trial above was magnified further with the increase in the focal length of this portion of the system.
3. Two problems, however, occur when trying out greater focal length, and/or trying to add teleconverters to duplicate the focal lengths: a) shake, and b) dispersion or chromatic aberrations. The shake of the system is so sensitive that I had to use the intervalometer (plus the timer in the camera itself for 10 seconds) to delay the shoot for around 30 seconds to give time to myself to step away from the (shaky) system. The system is so sensitive even to the steps on the ground nearby. As for the dispersion, this was magnified in Tamron, and this is natural because of the low quality (hence it was cheap lens). Also, teleconverters are made of low quality glass relatively, usually, and they do add to such distortion. So far, the best result is as seen above in Cutter Edge by using the Canon EF 100mm lens directly with reversed Canon EF 50mm lens without any teleconverters.

After these trials, I'm thinking now of building something like a glass table that would help me further with my macro experiments. Some methods and tips are mentioned in Cyril's book (cover above) which I've read some weeks ago. I need to go over the book again quickly to get some ideas and inspirations; not only for the macro shooting, but also for the nadir project!

Finale

Source: Amazon

There are stuff that are on hold for the time being. After finishing the books in my arsenal, I've been almost idle at work and too lazy to do "work" itself. I didn't even write any reviews concerning the books (left and above) that I've purchased some weeks ago, or any reviews concerning some of the gear that I've got some time ago from B&H, like the RoundFlash. The RoundFlash specifically needs some time to be tried out and have some thoughts as it can be used for portrait and macro - two fields that I'm not quite friendly with (portrait even more). I thought of using the RoundFlash for my (extra) macro projects in the near future but seems to me that the length of the system of lenses attached together would hinder such addition useless.

Source: B&H

For this reason, right now, I'm thinking of building a small glass table which be lighted from below. Of course, it would be useful for transparent or translucent objects and not opaque ones but that's not a big deal. I'm sure there are ways to light opaque objects from the side or above without using the RoundFlash.
Further more, I've read an interview with Jonathan Boakes, one of my favorite game developers, and in my process trying to seek inspiration whenever and wherever I can, I think Jonathan sparked (again) the fire of photographing old deserted places (which are abundant on Failaka island). On the agenda as well, a trial for the new IR gel filter to make a panorama, but of course it would be a panorama at broad daylight, when possible!
I've been stuffing my schedule with games in the past 2 weeks (and writing reviews about them) and I think the trend is still going on. I'm not sure what is still going on in my mind but there was something that felt severe. Something I just needed to vent through games. Now with the probability of developing Retinitis Pigmentosa, it seems I have to push myself to do more photography before it's too late.