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...

Kämpfe der Maschinen...

And I thought this week I will have a nice vacation for 3 days for the National Day celebrations. I was wrong; dead wrong. Honestly, I had some plans for my own in this holiday - I wanted to clean my room which is now a real mess; a REAL mess.
However, my plans got altered severely and I had to go after some tasks for the group as Mawahb 3 expo is approaching in March and there are lot of things to do yet. I'm praying things go well with this expo; we've put a heavy load of effort on it, beside so much stress to be coping with - beside grumpy members to go along with (or to quit working with).

Re-Visited:

In the mess and the fuss I was trying to work a bit more on my previous arsenal of images that I've taken and didn't touch, but also I had some unfinished story with some panoramas.

Esfera Andaluza

And back to the Arab Organizations Headquarter (AOH) where I worked on more panoramas. It seems that it is just my luck that I can't be situated under the center of the ceiling every time I head for a panorama, and in our case in AOH, it is because of the fountain. However, it seems that Esfera Andaluza with its circular projection, is visually almost at the center; but it needs a keen eye to notice the nudge off the center a bit.

Planeta Andalusia

However, before working on Esfera Andaluza, there was one weird aspect that I had to be over with yet: The little planet projection.
The story here is weird because the final image is not a typical little planet like I used to do with some interior panoramas. Rather, it is a mix or something in between the two levels of a planet projection and the wide view (which highly distorts the sides and pushing the center deep backward giving more depth to the image as in a fisheye lens).
When I first applied the little planet projection in PTGui, the whole image was not to mz likings for many reasons, but the main reason was the unpleasant view and stretch in the wooden decoration. For this reason I've shifted the nadir point (bottom point) by changing the pitch (i.e. the tilt of the view) nudging the center of the planet panorama off the center down a bit. In a wide-view panorama, the nadir point should be closer to the bottom edge of the image but here, the nadir point is just nudged little bit off the center. What I really like here is the wings formation for the hall in such projection. Anyway, I couldn't find a name for such projection and I'm not completely convinced it is something totally new other than the wide-view and the little planet, I've named the image after Planeta Andalusia referring back to the little planet projection fact.
Amazingly, with some work and some cloning, the nadir point that I've taken before and did not work in the original stitching process worked easily here (specially that it was taken with a great distortion). I had to do some resizing for the nadir image after the stitch was over and like working with tiles in a new building, I've fitted it there and done some cloning to the edges and also some toning to match the colors of the marble surface and lines between the nadir image and the rest of the stitched panorama. All of that process had to be done in HDR format, hence I was not able to use the Color Match command that is normally available under 16- and 8-bit formats.
I think at this point, all my extractions out of this panorama is done completely. I might visit back in case I had a new idea in mind. I've already inspected the possibilities of a tunnel view projection for this panorama but the overall look didn't sound so good I presume, so I've just skipped stitching this panorama for now. However, I might do it later just for the fun of it!

Arbeitsplatz:

Last week (or even before) I've received a request from the department upstairs in my workplace to take some pictures for the building (and I assume the images they have already were not as good). The whole story began with Kuwait University's Cultural Festival, when the director of the Biotechnology department upstairs was one of the invited guests and she noticed me in the last ceremony for the TV band.

A shot from the festival

However, I was busy a bit with the group (and still) and most of my tools (and thoughts) were scattered. I thought it is a great thing that such request came in winter. I was hoping for some clouds to come in and make my life a bit easier. However, many technical problems occurred! (typical, isn't it?).

Rokinon 8mm, f/8, 0.6sec, ISO100.

As you can see in the image above, the clouds mainly accumulate in the morning and I had some idea for doing a long exposure with such a fisheye lens to have most of the building in view with clouds passing over - but things aren't easy yet. Even though I've developed some ND gels to fit into the rear end of Rokinon's lens, the floodlights won't turn off until the sky is brighter, and probably the clouds are gone.

Rokinon with ND filter in its rear.

It was apparent that my luck was not lucky enough! I've been going to work for several days trying to capture a glimpse of the building and the clouds without floodlights AND cars, but seems the two options just can't be together. However, I kept on trying day after day trying to capture some glimpse of the building at different times and I had to give up the idea capturing some clouds formation because this might take such a long time to deliver the images to the director.

Canon EF-S 18-55mm @37mm, f/11,
25^-1sec, ISO100.

One of the shots that I really liked is the one taken from the side aiming at making the pillars and wall lines parallel vertically. However, I was hoping to take this shot with my 50mm lens to reduce the distortion as much as possible but because of thel imitations in the space (another building at my back and some obstructions) I had to get back to my old EF-S 18-55mm; the lens that I hate so well!
After taking this image (on the left), I've first processed the image with DxO to correct the slight tilt and also to fix the barrel (typical for this lens even though not noticed) and then help on making the image more parallel (forcing parallel lines). After reviewing the image in Photoshop then, I've noticed a tiny part of the metallic shade holder popping out and it kind of irritated me because everything looked perfectly parallel but this line was sticking out.

The front and the metallic shade apparent here.
Canon EF-S 18-55mm @24mm, f/8, 8^-1sec, ISO100.

Cloning out the remnants of the shade was not a good option, thus I had to spend some time copying other parts of the image and sticking them into place and smoothing out some parts to hide the edges. It was quite a piece of cake, but if only I knew that this would work out like that I wouldn't waste my time working on cloning!
The image on the right here was also a riddle to be solved because, with the help of DxO, I tried to fix the horizontal lines and make them perfectly parallel, but when this is done, the vertical lines turn non parallel. And the situation is vice versa! I couldn't settle down with one thing after all the fixes so I just watched out for the horizontal lines, I think, to make them parallel and that's it.

Canon EF-S 18-55mm @18mm, f/8, 84sec, ISO100.

Since we are at it, I've figured some experimenting with the IR filter won't be harmful, just in case this image or technique (despite being black and white) can be interesting to them. Originally, I've approached this image in different manners, in both, Photoshop and Canon's DPP, and initially I've created what it seemed to be artistically interesting photos (with red shades or with blue shades after swapping channels). However, I thought they won't be that interested in such artistic flow (specially that there is already a fisheye shot). This shot (above) was also subjected to DxO to fix certain parallel lines problems (with the usual tilt in the image because of my bad tripod!). Weirdly though, the right top corner of the building was skewed in a strange way and needed some special treatment!

Canon 15mm, f/16, ISO100.
HDR

Finally, I've decided to do a panorama outside and after the working hours. Since there are no clouds I might get out with something useful here like a high resolution panorama. The panorama is around 180^o initially, but lot of the sides was cropped. Probably the building itself occupies less than 90^o of the field view. I've done a previous panorama for the same building but it was done with a regular tripod and no VR-head and there were some stitching errors. Even though I wished for some sky here but lot of people are happy with the blue sky initially. The goal after all is just to give some printable material for the future uses; and in such cases, the bigger, the better. That way, resizing can be done with relative ease without any fear for loss of details (i.e. critical details).
The course of action was over a period of 2 days, and during that time, I was able to catch a glimpse of how spectacular my mission was:

Canon EF 50mm, f/2, 30^-1sec, ISO100.

 And yes, it was placed in front of my own workplace building. Had to crop here and there to emphasize the subject...
At the time of typing these words, the CD containing these photos is not submitted yet to the director and might not hear back from her soon. I know she's a busy person and probably won't have enough time to look at those few pictures thoroughly.

Nocturnal Nostalgia:

Nocturnal Abstract
Canon EF 50mm, f/1.4, 400^-1sec, ISO100.

Before proceeding with the nostalgia part, I have to say that I barely found some time to work on with some of the images taken from Ahmadi around 2 weeks ago. After going over the images again probably I didn't find much, but there were some images that were saved in layered TIFF format but I didn't complete the editing process to be posted last week in this blog.
Some images were hard to be liked, but I thought maybe some cropping would do the job and change the image into something likable, like Nocturnal abstract. I've converted the image here to black and white to emphasize the looks of the light and neglect the importance of the colors (they were red, yellow and orange). I'm not sure this image would be liked by anyone but I like it after all for its simplicity of lines.

Counter Clockwise
Canon EF 15mm, f/16, 30sec, ISO100.

However, there were some images that I've neglected for some time, probably because of the pressure over me with the group's activities hovering over. One of those images was Counter Clockwise which was taken at a roundabout (before the arrival of some hooligans). I could've made the exposure longer than 30 seconds but the circumstances there made me stop at this point and I thought 30 seconds is just fair enough - all what I would have to do is time it with the arrival of some cars. Initially, I wanted to take this shot with Rokinon's 8mm fisheye lens but the view was so wide that the clock tower in the roundabout seemed so small and far away and this is exactly the opposite of what I wanted in the first place. My best choice was the 15mm lens (and better than my EF-S 18-55mm of course!).

Round Around
Canon EF 15mm, f/22, 30sec, ISO100.

Gates of Light
Tamron 70-300mm @119mm,
f/16, 30sec, ISO100.

Still with the 15mm fisheye lens when Round Around was taken and in this shot I didn't really care much about the composition as much as I cared for the simple movement of the merry-go-round. I had to crop a lot from the top to remove the black sky and I've darkened the triangular part near the top edge which so bright and shiny because of the floodlight behind me here. Not an image I would submit usually but it simply has some motion that I like. Some images however could not be fixed even after cropping hard. I like some movements in them like Round Around and Gates of Light, which stopped my cropping at a certain point because of gated lights, yet I have to say I simply like some aspects of the images and not completely like the images themselves. I think it is important to have some hope in every image you take even if you don't like or love the total aspect of the image. I've met some people so far that desire and wish to make a masterpiece of every shutter click, but this is simply not possible, and not even Ansel Adams would have dreamed of something like that! The point here, I do photography because I like it, not because I want people to be impressed with it - and when I share my images, I share my interests with the world. I'm not showing people how a good photographer I am, because simply, I'm not.

You might be wondering, where does the nostalgia part comes in. It comes from the fact that during this holiday (National Independence and liberation days), I've decided to visit the area that I've lived in for 23 years of my life. I was born and raised there and back then I've never imagined myself being out of this area. But life has its own measures and (bad and good) surprises for us. Things changed a bit since I've left this area in 2003, but the general plan and shape of the roads is mostly the same. 

Electric Sakura

Glowing Kuwait

Smiley Lighty

I won't be discussing the matters of these images and how good or bad they are (and I think most of them aren't that good), but I just wanted to say that that night sparked some memories about places that maybe I was supposed to be in till this very day if not for legal and financial problems that the family had been through. 
They told me the light decoration in the area is magnificent and they were to some extent but not as brilliant as the light decoration and miniatures in Ahmadi. Yet, I tried to enjoy my time taking some snap shots. A lot of the light decorations were raised up high and were regular in patterns making shooting them with a camera a bit of a hard task and monotonous.
I didn't write up any technical details on each image here. All what I want to do personally is just stare at these images and remember the old days. Who cares what lens I've used in these shots?

Finale:

Had been a time of stress lately. Not only for the numerous activities that I have to cope with, but also for matters of the heart - which I'm trying to have a foundation of.
In the mean time, I'm keeping some thoughts to myself after the pressure over members of the group and myself. To me, I don't care much about contests and expos (or let's say my interest is minimum), but to some other members it seems not so - specially after what seemed to them it is a harsh judgement over their images. With me, being responsible for the printing process and following-ups in this field, I've realized many hardships that members face. I have a list of points that I'm keeping for myself right now but probably would expose them at the right moment:

• Neglecting expos and contests and stop pressurizing the group's activities. If you want to bake a cake, quick baking is not the way.
• Giving a period of time for free activities for the group and not putting stress on their shoulders for some months.
• Opening up a discussion on a weekly basis for the pictures taken randomly by members every week. We have to emphasize the emotional connection to the images and not only to think in an abstract manner about beauty itself. This is not sorting out by critics, but a discussion.
• We must drop down the spirit of competition inside the members of the group; photography is a philosophy, not a fight. Won? good, lost? I'm happy about my pictures.
• A workshop to produce images would not necessarily give out the results right away. Mastering a technique after a workshop or a chain of thoughts (if the workshop is about certain field of photography) can take up to months of hard work - this is if such field is really appreciated and rises curiosity inside the photographer.
• Judgements and criticizing images should be done under the light of the available gadgets and knowledge of the photographer. A beginner photographer should not be criticized up to the same level as an advanced photographer. In Kuwait, landscape photography is a pure example of such differences in creative powers in such field of photography. It's hard to make out an astonishing image from a landscape in this country; why would I ask so much from the photographer for things out of his or her control?
• The activities should be divided in between the group members. In other words, not all (or most) group members should get involved in contests or expos, but the load should be divided and shared. Moreover, it would be better if the leader of the group picks certain members to submit some of their images for certain contests, since the leader knows better about the capabilities of certain members. I think this is far better than trying to seed ideas and waiting for the plow by all members.
• Technical advices concerning working with RAW format and color spaces is a must.

Ironically, I wish if I can make out some ideas to organize myself as I'm trying to organize some aspects of the group.

I'm not sure where am I heading, but from time to time some dreams tickle my heart and mind. Age seems to be something not to be forgotten - or not so easily I would say. Walking alone, working alone, and sleeping alone. Wondering still if my life is appreciated by anyone. In the meantime I'm digging hard and trying to grasp my poetic abilities back again. Wrote something but might keep it for the next post, next week. It was an image that inspired the whole piece, a short one though, with hardly squeezed words out of my mind. Would I be able to use photography and photos to inspire for poetry? Who knows... I need something to steam off the anger, the melancholy...

Gelb und Weiß

Time In No Time

It was somehow a quiet day today... not much troubles! But I had to spend most of the time coping with this damned connection here which was like ON and OFF most of the time, while I download some of the files from one of my accounts in GeoCities. I should check if they enabled the FTP for this purpose, it was a tiresome task and took over most of my time. Right now, I finished downloading the contents of 3 of my accounts, and yet there are another 3 to go (or is it 2? I can't remember). The idea of this close-down strikes me with nostalgia, if I can call it so. I think there is no way but to re-build and make a new theme for the Ayvarith website... somewhere else this time.

The yield for today's translation was 2 verses, reaching line #480, which would be something else if I corrected the missing numbers that I've found! I didn't find more missing lines so far, which makes me relax a bit. Thinking about the transliteration that I have to do shakes my mood violently... I don't know when to do this, and I think I failed to push myself to work on it at home. I'm busy playing some games! Games are so important for me and I take it as a homework!

I didn't work on my story for days now, but thinking of working on it little bit after posting this entry. It would be awesome if I can manage to be some where, maybe overlooking the sea and try to concentrate on writing it... nature is an eloquent motivational speaker.

If only I can control my mood... I would have plenty of time for everything...

On the other hand, we got some photos from Iraq, from the holy site of Al-Kazimain, from a friend of the family, Sayyid Abbas. Notice that "Sayyid" is a title and not a name (though some people use it as a name). I managed to manipulate them a bit with photoshop to make more vibrant colors, since most of the photos were taken in a dusty weather. Please, click on each photo to read a commentary about it: