Testing The Sony A6300


Smaller, Faster and able to leap over tall buildings!

Yes, you are correct, I shoot with the Sony A7rii 42 mega pixel full frame mirrorless camera!  What you cry am I doing with the A6300 which is only 24 mega pixel and an APS-C sensor?  Well friends, the answer to that is simple, well perhaps not…   I envision the A6300 as a 720nm Infrared camera.  

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer. B&W conversion

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer. B&W conversion Look at the detail in the gate and grass.  This has a 3 dimensional effect! 

But it has several very interesting and powerful functions that have engaged my curiosity.  Those are:

  • 11 fps shooting speed.
  • Faster and more accurate focus than the A7rii
  • More focus and metering points.
  • Half the weight of the A7rii
  • Much brighter and accurate focus peaking system.
  • Ability to work macro at 1:1 with live view and not have an over pixelated display.
  • The ability to turn my 600mm lens into a 900mm lens!
Sony A6300 Front View

Sony A6300 Front View

The 4 test images I took today were shot hand held at 1/250s and in RAW with Zone Focusing.  I also had the LIVE VEIW DISPLAY: Setting Effect: ON.  This enabled the camera to simulate the exposure effects during composition to give me an idea of what I am actually seeing. 

The A6300 is a TINY camera system.  It is so light (even with a L Bracket installed) that I had to be very careful when carrying it around.  I worried over dropping it and not knowing!

Sony A6300 Back View

Sony A6300 Back View

The camera does NOT have a built in Stabilizing system, rather it relies on the fact that most Sony lenses have that built in.   I has 3 custom WB memories for those of you who are considering the camera for Infrared and it also has 2 custom setup memories that I have found to be very helpful with my A7rii camera!

I found the camera very easy to use and control.  I setup all of the custom functions and buttons to make my life easier when shooting it.   

As I said, this camera was meant to be converted by http://www.kolarivision.com into a 720nm infrared system and it may actually meet that end, but I really like the ability of the APS system to give me 900mm from a 600mm lens!

 

 

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer.

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer.

Here is the color version (with polarizer) of the image above.  The colors are nicely saturated and the overall image is sharp and offers enough detail and sharpness to draw the viewer into the image!

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer.

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer.

Here is another view of the salt marsh.  I have to say that the camera with the 24-70 Zeiss lens is easy to hold and control.  The camera control buttons are easy to reach and control without using them by accident.

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer. B&W conversion.

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer. B&W conversion.

Lastly, a B&W conversion of the same image.  

I am really excited with the functionality of this little system.  I am pleased with the results and will use it for a few months as a color system for my long lens. Ultimately it will be converted to IR but for now I will play with it.  

There are several issues with its firmware (same as when the A7rii came out).  Overheating during hight speed continuous shots is the big one but Sony assures me that a fix is in work as it was when the A7rii camera came out!

I will be experimenting with the system for a few months and see what it can offer me in terms of images and use.  Later this week it is going to the beach for some ultra long exposures to see if it has any body light leaks!

What do your think?

 

 

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More Leica M Monochrome Magic!


Creating World Class B&W Images With Leica Monochrome

Bodie Island Light, M Monochrome

Bodie Island Light, M Monochrome

In my continuing love affair with the Leica M Monochrome camera system I have learned more each day towards creating amazing etherial B&W art…  Keep in mind that I have been shooting B&W film (35mm, 6×7 and 4×5) for several decades and know and understand the process very well. But using the Monochrome is such an easy progression that it seams as though the camera is leading me down this path on its own. Yes there is some small post processing to be done using Nik Filters Silver EFX and once in a while I will add some Viveza as well, but for the most part it is almost perfect out of the camera as long as you get the exposure correct in the shooting!

Leica Tri-Elmar 16 - 18 - 21 mm Lens

Leica Tri-Elmar 16 – 18 – 21 mm Lens

In the image below of the shrimper Stormy Seas, I used the Leica Tri-Elmar set in 16mm.  There is no image distortion from such a wide angle and it is sharp with good depth of field.  When using this lens on the Monochrome you are forced to use the frankenstein viewfinder that you purchase with the lens but that is a small price to pay for such a useful lens.  I also have a Voigtlander Hellar 12mm lens in the camera bag and it works very well on the Monochrome and uses an external 12mm viewfinder, but it does distort the image slightly due it its wideness but you can correct for that in Photoshop.  The thing about the Tri-Elmar is that it replaced 3 separate lenses that were stolen with one small lens!

Stormy Seas Shrimper, M Monochrome with Tri-Elmar at 16mm

Stormy Seas Shrimper, M Monochrome with Tri-Elmar at 16mm

 

Using a fast lens like the 50mm Summilux ASPH for the image below of the Roanoke River Lighthouse allows you to hand hold on dark or stormy days and still get crisp images that jump out at you! For this image I also had a yellow filter attached to bring out the structure of the clouds.  This is one of the HUGE pluses of the Monochrome in that it reacts to the standard B&W filters the same way as film does!

Roanoke River Lighthouse, M Monochrome

Roanoke River Lighthouse, M Monochrom

But as always my main use for the camera is long exposures which is where my true love lives!  Being able to take ocean shots and smooth out the waves is exciting beyond words and the Monochrome does a great job of it with its 4 min bulb limit.  Look at the image below of the (another version) Roanoke Marshes Light House.  I was there when the light was on and each time it circled  it created another slightly offset star effect.  It allows me to create images full of wonder and depth!

Roanoke Marshes Lighthouse with operating Light, 16 second exposure, M Monochrome

Roanoke Marshes Lighthouse with operating Light, 16 second exposure, M Monochrome

The implied stillness of the water with the graduated reflections create an image full of mood and depth.  This is one of my favorite images of this Light House and the fact that during the 16 second exposure the light revolved around 3 times to generate 3 slightly offset star patterns just add more mood to it.  This particular shot was done with a B+W 103 3 stop ND filter to allow the longer shutter speed at f/8 for sharpness with the 50mm Summilux ASPH lens!

Now let me share a detail shot of a fishing boat just up the island from the Light House.  It is simple yet tells a complex story of the boat and job.  

Fishing Float, M Monochrome

Fishing Float, M Monochrome

I love the textures of the image and the sharpness. The texture on the surface of the individual floats are great and perhaps would have been better served by a closer shot. It was taken with the Macro Elmar 90mm lens (a great lens to invest in) and was done on the tripod!

Mushroom, Macro, M Monochrome with Macro Elmar 90mm plus macro adapter

Mushroom, Macro, M Monochrome with Macro Elmar 90mm plus macro adapter

Really Right Stuff TF-01 and Ball Head

Really Right Stuff TF-01 and Ball Head

Continuing with the 90mm Macro Elmar I give you a closeup image taken just as I left the Outer Banks.  This mushroom is only about 2 inches tall and I had to lay down under a log to get it.  Yes a tripod was used but it was the Really Right Stuff table pod which is an amazing tool to have in your kit for just this sort of work  Look at the textures on the bottom and stalk of the mushroom.  This 90mm lens is the only 90 that I will ever buy for my Leica cameras!

Really Right Stuff TF-01

Really Right Stuff TF-01

I hope that you enjoyed this last dedicated post on the Leica M Monochrome camera.  I will have many more images to share from it in the future but I think that you are likely getting tired of dedicated posts!

Thanks for taking the time to view these!!

Leica M240 Digital..


Oh, No… Another Camera System…

Leica M240 24 mpx Digital

Leica M240 24 mpx Digital

Well, in a wild turn of events I have picked up some new camera equipment… This is a really no surprise as it is a sickness or rather addiction!   But onward and upward!  

I do have to tell you that I am REALLY excited over acquiring these new systems though.   And unfortunately, one thing has let to another and thus a long journey has also been started into the realm of film again!

But first let me highlight the “What”!

As you can see in the top image, the newest body is the new Leica M240 24 full frame 24 mega pixel body.  It also has a true “live view” which allows use of all sorts of other lenses like the Leica R series that you would NOT normally be able to focus.  This means everything from long telephotos to true macro (subject of the next post!). After a few months of use I can tell you that this is the BEST digital system that I have ever used!  Along with it I also picked up several lenses.

Leica 50mm Summalux ASPH f/1.4

Leica 50mm Summalux ASPH f/1.4

First, the main lens is the Leica M 50mm f/1.4 Summalux ASPH lens in silver.  This is a HEAVY lens.  If attacked by a bear I could use it to beat him half to death.  The lens itself has turned into my main lens that I use 60% of the time. It has a built in leans hood and takes 46mm filters.  The Bokah that this lens can generate is amazing beyond description. It is extremely smooth and easy to use and generates images that are truly amazing!

Tulip at f/1.4, Leica 50mm Summalux ASPH

Tulip at f/1.4, Leica M240 w/ Leica 50mm Summalux ASPH

 

Leica 28mm Elmarit ASPH

Leica 28mm Elmarit ASPH

The next lens is the Leica M mount 28mm f/2.8 Elmarit ASPH.  This is a TINY light lens that takes 39mm filters.  These smaller filters sized considerably cut the cost of purchasing top of the line B+W filters.  Since the M240 camera is a full frame sensor the 28mm really is 28mm! The lens is sharp beyond words and quick to focus.  I am really please with this lens and use it for landscapes and lightning photography when mounted on my Fuji X-T1 camera.

The example image for this lens below is a texture overlay.  The main image was an Infrared image taken by placing a R72 (720nm) infrared filter on the lens giving a white IR image of a palm leaf, then doing a texture overlay of colored flowers.

 

M240-1916-Palm Overlay-2014 in both 720nm Infrared and Color

M240-1916-Palm Overlay-2014 in both 720nm Infrared and Color

 

Leica Macro-Elmar-M 90 mm f/4

Leica Macro-Elmar-M 90 mm f/4

The next lens is the Leica Macro-Elmar-M 90 mm f/4 and its macro adapter with split image view.  This is a very unique lens in that it collapses for storage.  By itself it is a great 90mm lens and has proven useful for mid range subjects as well as for Infrared work with the addition of a R72 IR filter.  When you add its macro adapter (extension tube coupled to a viewfinder modifier) it will then give you macro capabilities down to a 1:3 image ratio!  Below is an example of a macro image shot with this lens last week at Moore Farms in Lake City .

Leica Macro-Elmar-M 90 mm f/4

Leica Macro-Elmar-M 90 mm f/4

Now, I already had my two Voigtlander M mount lenses that I was using with the Fuji systems, but they are M mount!

Voigtlander 75mm f/1.8

Voigtlander 75mm f/1.8

First is the Voigtlander Heliar 75mm f/1.8 Lens.  This is an amazing lens that is very fast at f/1.8. The focus is smooth and long and it works very well with M mount extension tubes for true macro work (1:1 image ratio).  I do have 3 of the 10mm extension tubes for it as well as a Canon 500D closeup lens.  For my really small stuff this is my goto lens.  It is a little long but has a very nice clam on lens hood.  While it is NOT a Leica lens it is very close in terms of quality and ease and the f/1.8 aperture gives lovely bokah!

Here then is an example of a 1:1 life-size macro shot with it!

Green Dots...

Green Dots…

Voigtlander 12mm Ultra Wide Hellar

Voigtlander 12mm Ultra Wide Hellar

The last lens that I am going to talk about here is the Voigtlander Ultra Wide-Heliar 12mm f/5.6 Aspherical M Mount lens.  Another heavy all metal lens with remarkable focus and DOF.  Since it is so wide you can almost have a DOF from right in front of the lens out to infinity!  Plus 12mm is really 12mm on the camera!  Given that the camera is both full frame and has a live view you can see the power of using this lens and the ease of composition and focus!

In the example image below please notice the extreme range of the depth of field!

Stormy Seas, down low and dirty... Voigtlander 12mm

Stormy Seas, down low and dirty… Voigtlander 12mm

 

As you can see, all of the system components are extremely high quality and easy to use giving stunning results.  I like to create Long Exposure and Infrared images as well so I thought that I would share some of them with you below.  

M240-BW 59s16ND PI Pier-0148-2014

Pier, Leica M240 60 second exposure

M240 w/ R72 IR Filter

M240 w/ R72 IR Filter

Leica M240 w/ 28mm Elmarit,

Leica M240 w/ 28mm Elmarit

6 Shot HDR, Leica M240

6 Shot HDR, Leica M240

Blue Hour in B&W, Leica M240, 60 second exposure

Blue Hour in B&W, Leica M240, 60 second exposure

M240-1109-60 s PI LE-2014

Low Tide, Leica M240, 45 second exposure

 

I hope that you enjoyed this post.  I will have several more shortly in the future highlighting more of this system as well as some new FILM work!! 

Stay Tuned!

 

Fuji X100s: Oh Yea…


You know the feeling, and usually need tissues to clean up afterwords!

A little background is in order…

Fuji X100s

Fuji X100s

Fuji X, what can you say except “Yes Please!”.  I am a LONG time X shooter.  I started out several years ago with the Fuji X100 and loved every moment of it.  I likened shooting with it to going home to Mama…  If you know what I mean then you understand.   I did decide that I really desired to have a camera with interchangeable lenses and when the Fuji X Pro 1 came out I jumped on it and all of the FX lenses that have since arrived plus several CV lenses as well.   The X Pro 1 has become may main goto camera system.  I Then purchased the X-E1 due to its electronic shutter release, thus its ability to connect to my lightning trigger and water drop computer system!  The X-E1 only lives for such things…  When I get it out to play with lightning it is like coming home to a doggy after a long day! I then decided to get another X Pro 1 and have it converted to 720nm Infrared.  This system (my 16th IR conversion) is the BEST IR camera that I have ever used and that is a big statement!

Passion Flower Macro, Fuji X100s hand held in bright sunlight.

Passion Flower Macro, Fuji X100s hand held in bright sunlight.

So, along comes the X100s, and I look it over and think on it for months.  I though that gee, what a neat system to add to my bag.   Finally I decided to get one but let me tell you that they are HARD TO FIND!  I found on at a little online camera store in Oregon and had them ship it to me last month.  I am very glad I made  this decision!  To say that the X100S is a world class camera is really short selling its capability!   I find that I carry it EVERYWHERE I go now.  I still use the X Pro 1 for most of my work but the X100s really gives stunning results and the new XTran 2 sensor is amazing.  I love the split image manual focus system and wish the other Fuji cameras offered it as well.

Adams Mill Wheel, Lafayette, IN, Fuji X100s

Adams Mill Wheel, Lafayette, IN, Fuji X100s

The X100s works very well in macro mode and the sharpness, colors and texture are simply breathtaking!  You could not ask more of a walk around camera than the Fuji delivers.  Even without image stabilization the camera is flawless due to its ability to shoot cleanly at high ISOs!

Abstract, Glass Block Floral, Fuji X100s

Abstract, Glass Block Floral, Fuji X100s

I am going to share a few of the images generated so far with this incredible camera and you be the judge!

The Dingy, Fuji X100s

The Dingy, Fuji X100s

Adams Mill, Lafayette IN, Fuji X100s

Adams Mill, Lafayette IN, Fuji X100s

McHargue Mill, Fuji X100s

McHargue Mill, Fuji X100s

Old Truck, Fuji X100s

Old Truck, Fuji X100s

A Face in the trees, Fuji X100s, you have to figure this one out!

A Face in the trees, Fuji X100s, you have to figure this one out!

Ok thats it for today!  What do you think?

MACRO!! Fuji X Pro 1, XF 55-200mm Lens & The NEW FX Extension Tubes


Fun With Macro…

Passion Flower

Passion Flower

Photodix

Photoasy Extension Tube Set

I was invited to visit Moore Farms in Lake City South Carolina last week to evaluate them as a workshop location for future workshops.  They have developed a great botanical garden destination that has more plant potential than most other places that I have visited!

For the visit I decided to take along my Fuji X Pro 1, Fuji X100s, Fuji 18-55 and the Fuji 55-200mm lens.  I also picked up the new Photoasy Extension Tube Set which has a 10mm tube and a 16mm tube with the communications connections so that the camera can still talk to the lens!  This was ONLY available on Ebay but recently Amazon Prime has started offering this great set!

Fuji 55-200mm

Fuji 55-200mm

The ENTIRE time I was shooting the X Pro 1 it had the Fuji 55-200mm lens installed with the 16mm extension tube.  I shot on the tripod the entire time with a remote shutter release.  A lot of my shooting with in high sunlight (sometime you cannot help this) and I forgot to bring along a translucent panel to modify the light to a more gentle form.  All of these things aside the camera/lens/tube combination worked great!  I am VERY pleased with the results (please view the Passion Flower above!).  I used an aperture of f/5.6 or f/8 (subject dependent) the entire time and usually had the lens set between 180mm to 200mm.

Because the 55-200mm lens is so long and does NOT offer a lens foot to better balance the camera/lens on the tripod you need a really stable tripod/ball head to keep the entire system stable.  I am using a large carbon fibre Feisol  tripod with the Really Right Stuff BH-55 ball head which is as steady as you can get!

The images generated are very pleasing and sharp all the way out to the edges.  The colors are very well saturated and there is no smearing at all!

The extension tubes are made of plastic with metal mounting rings and the connections match up perfectly.  I found that the 16mm tube was enough for the style of shooting that I was doing on this day (1:2 to 1:4 image ratio closeups)  but I did purchase 2 complete sets of tubes to get closer if necessary.

Here are some of the images generated.  All of the EXIF and GPS data are included.

Purple Cotton Flower

Purple Cotton Flower

Trumpet Pitcher Plant (carnivorous) and Anole

Trumpet Pitcher Plant (carnivorous) and Anole

Caterpillar on Purple Cotton

Caterpillar on Purple Cotton

 

This is a great rig for shooting macro/closeup.  The addition of the extension tube set is really a God send!

A Treatise on High Speed Water Drops with the Fuji X Pro 1 & Voigtlander 75mm f/1.8


How To: Extreme Macro High Speed Photography and the Fuji X Pro 1

The Perfect Bell

Macro photography is hard work.  There are so many technical issues to overcome that you have to be a very patient person with the correct camera equipment.  Now, add in the complexity of HIGH SPEED WATER DROP COLLISIONS to the mix and you are faced with one of the more complex camera and photographic setups and skills necessary to capture great images.  Most people think that water drop photography is purely luck or done with high speed computer controls.  While this statement is partially true, you still have to overcome the normal issues associated with macro photography in the 1:1 image ration realm.  By this I mean that a penny photographed  is the same size as if laid on the camera sensor, hence 1:1!

Bombs Away, Red upper water source, Blue lower!

Macro issues are tough:

  • VERY NARROW Depth Of Field (DOF), with the drop collisions being wider than what the camera can keep sharp.
  • Getting enough light on the subject to artistically present it with depth.
  • Getting the camera lens to focus at 1:1 with enough distance from the drops to keep water from splashing onto the front of the lens.

Now, add in the issues with water drops:

  • The inability of the shutter to stop the motion of the water movement.
  • Setting up several flash units in manual mode for stop action work around 1/120000 second.
  • Controlling the water drops for number and size, interval.
  • Keeping the water drops round and on target.
  • Controlling the flash firing delay to .001 second starting at about .150 second out to .500 second.
  • Setting up the camera shutter speed to allow all of this high speed stuff to happen (which actually requires a long exposure!)
  • Getting all of this without breaking the bank!

There are dozens of articles on the WEB about doing this in your sink with a baggy full of water and a pin hole in the bottom.  This can indeed be a fun experiment, but one that is doomed to failure.  Anyone who actually thinks they might enjoy this ALWAYS move up to some sort of computer controlled water drop machine. A unit that will:

  • Number of Drops
  • Size of Drops
  • Interval between Drops
  • Camera Trigger
  • Flash Trigger
  • Upper Water Tank
  • Computer controlled valve

Now the Camera equipment list:

  • ANY camera with interchangeable lenses.
  • Macro Lens at 1:1 (or the ability to modify an existing lens with extension tubes and/or close up diopter filters)
  • Remote shutter release.
  • 1 to 3 external flash units capable of being set in Manual at 1/64 power with stands.
  • PC flash wiring cables and a 1 to 3 wiring adapter (this is the inexpensive stuff)
  • Colored gels.
  • Difusers, Reflectors, and Colored Glass Sheets.
  • Small STABLE table tripod.
  • Food Coloring
  • Glycerin
  • Dish Soap

The Time Machine

I LOVE water drop photography so I choose a timing controller and a water drop controller from The Time Machine.  It is a small system of 2 small electronic boxes that run on 9v batteries (still on the original battery after a year). There are about 3 companies out there that sell these control systems, but to me, this one was the easiest and lowest in cost. The learning curve is short, but still, you will be required to do your homework and READ THE MANUAL (RTFM).  They even pack a bag of M&M candy in with it and tell you to go sit down, snack and read!

The Complete Setup, Uncluttered

The Drip Kit from the same company provides you with the 2nd box and upper water tank/valve/holder that talks to the Time machine through 1 simple cable.  It is easy to setup and understand! This is what it looks like from the dealer (right). Believe me when I tell you that this is the device that makes high speed water drop photography possible!  The entire kit cost me about $350 and was worth every penny.

My VERY cluttered setup!

OK, now then, here is an image of MY actual setup.  Notice that there is nothing uncluttered about it!  The thing is messy, disorganized and tons of fun!  You could even call it addictive!

TIP: I have also shown in the above image a large BOLT that I place in the lower tray of water, allow the drops to fall on it and use the threads as my focus points!

Did you notice that I am using 2 different colors of water?  Red on top and blue in the bottom tray?  This allows the colors to mix in the resulting collisions and give some very interesting color mixes as shown in the next photograph. For this image I used 2 flashes off to the left and right low on the water.  One was normal white and the one one the right had a red gel attached to further bring out the red colors.  Then I placed a blue & white mottled glass plate beyond the lower pan with the 3rd light positioned behind it with a white piece of paper between the flash and the glass plate! Look at the colors in the water foreground, the collision and the backdrop.  It all comes together!

TIP:  Add a squirt of Glycerin and a SINGLE DROP if liquid JOY soap to the upper water container.  This will give good mushroom caps with attatched drops moving away.  You will also want to add Glycerin to the lower water container along with your food coloring.

Red & Blue water mixing in a collision!

TIP: For the bottom tray, use a NON SHINY BLACK pan.  This will keep the flashes from reflecting back into the lens and not cause the pans colors, writing, or texture to influence the image.

Some people use MILK in the upper water container for some very good and interesting results!  The KEYWORD here is experimentation!

Some Thoughts on Camera Equipment!

Traditionally, I have always used Canon equipment for my water drop photography, but have totally switched now to my Fuji X Pro 1 camera system.  It is smaller, lighter and gives much better images.  I wanted to use my Fuji 60mm F/2 macro lens for this but it had several issues:

  • It was too close to the water drops and was getting covered in water/food color/glycerin.
  • It was subject to a central hot spot (bad one) when using flashes on water!  Nothing I did seemed to fix this issue!

CV 75mm f/1.8

So I got out my Voigtlander 75mm f/1.8 M mount lens, 2 Leica 10mm extension tubes and a Canon 500D +2 Diopter filter and have been using is successfully for quite a while now! I am using the Fuji M to X mount adapter as well.  This is a sharp lens with an easy, smooth focusing.

Leica 10 mm M to M extension tube

Finding extension tubes was a little difficult for the Leica M mount lenses.  Finally, I did find 3 OUFRO / 16469Y extension Rings at Igor’s Camera Exchange as well as on Ebay.  But the Ebay versions were easily 2 to 3 times the cost!  These tubes are very well made and even though they are bright silver on the outside, they are mat black  on the inside where it counts.  They are tight and have ZERO camera/lens play!

Now, why use the X Pro 1 with its mechanical shutter release when I could use a Olympus OMD with its electronic one?  Asking this question is really asking:  Why not allow the TIme Machine to trigger the camera’s shutter?  Well, for water drop photography, having the controller trigger the shutter release is not necessary.  The normal shutter speed is typically around .5s and since we are shooting in the dark, it is no big deal to set a 1 second exposure and have no impact o the image.  What you do:

  • Fire the camera shutter.
  • Fire the Time Machine.

Really Right Stuff Table Top

The rest is simply history!  But the plain truth of it all is that it simply works!  I LOVE the X Pro 1 and lens combination.  The camera gives STUNNING images and it is small and light!  What more do you need?  Being light, it enables me to use a small table tripod from Really Right Stuff that is a joy to use.  Complete with a great ball head, the camera is steady and does not move at all.

Ok it is time to talk about the Time Machine!

This controller allows you to control all aspects of the Drip Module through simple push buttons.  It is easy to use and requires minimal button pushes to achieve your desired effect!

  1. Mode.  The controller has about 15 modes for different types of photography.  For this post, we are interested in Drops.
  2. Number of Drops.  A count of how many drops to make when you press its fire button.
  3. Drop Size.  A timer (in .001 seconds) that controls how long the valve is open thus how large the drop is.  You have to be careful with this one because larger drops will move around as they fall and strike off center or out of round!
  4. Drop Interval.  A timer (in .001 seconds) that delays the time between the drops.
  5. Flash Delay. A timer (in .001 seconds) that delays the flash firing from the first drop.  Normally set to between .115 and .300.  By changing this timer you can directly control the state of the collision!
  6. Advance.  An incremental  timer counter that will adjust the Flash Delay (in .0001 seconds) from the previous shot.  This control will allow you to take a sequence of shots with an incremental Flash Delay and give the ability to see a stop motion display of the collision sequence! (see the end gallery of this post for a 20 shot sequence)

Here is an image of an imminent drop collision.  I got this by adjusting the Flash Delay timer down to the point that the first drop had hit the bottom water and bounced back up and the 2nd drop was falling to the point of almost reaching the rising column of water when the flashes fired!  The red was obtained by using a red glass background and firing a flash through it towards the drops from behind!

About to happen…

Again please note the mixture of blue and red in the water as provided by food coloring as well as gels on the flash units!

Yes, I realize that this has been a long post.  I am going to end it here with a gallery of 20 stop motion images where I set up the Time machine as follows.  I hope that you both enjoyed and learned something about water drop photography here!  When I setup to do this it is always in my gallery and I always post about it on Facebook as to invite other photographers to bring their cameras over and give it a try!  Follow me on Face book at https://www.facebook.com/mark.hilliard.33 to get notified of these photographic opportunities!

Now, On to the sequence shots!

This is a sequence shoot.  The Time Machine was setup as follows:

  • 19″ Drop from valve to lower water surface.
  • 2 Drops
  • Drop Interval at .057
  • Drop Size at .040
  • Flash Delay at .260 for first shot
  • Advance at .0010 second.  This amount of time is added to the Flash Delay after each shot.

So, here then are a sequence of 20 images taken with the exact same setup of water drops showing the difference made by shifting the Flash Delay timer UP by .001 second between shots!

Please, let me know what you thought of this post!

Fuji X Pro 1 for High Speed Water drops Anyone?


Or how to succeed without really trying with a world class camera system!

Ohh, a pretty lead in tease image!

Today was gallery day for me.  I really wanted to go out and shoot but decided that I needed to sit and be open.  So… I dug out my high speed water drop kit and setup on my work table and decided that today I would test out my Fuji X Pro 1 and my Olympus OMD for water drops.  This then is the X Pro 1 post!

First, I can hear you asking, “How can you possibly use the X Pro 1 for water drops?”, well the answer is both frightening and simple at the same time!  I do several types of photography where the camera in use must have an electronic shutter release so that I can hook the camera up to a remote controller, like a Lightning Trigger or a Time Machine for water drops.  But water drops really do not need to be triggered by the Time Machine since the exposure is about a second long to enable the machine to trigger the timed water drops generated for the collision, the size of the drops, the distance between them, the shutter release and lastly the strobes!  This is all done in the following order:

  1. User pushes fire button.
  2. Camera opens the shutter for around 1 second.
  3. Time machine drops the first drop at XXX size.
  4. Time machine Drops the second drop at XXX size.
  5. Time Machine waits a programmed delay.
  6. Time Machine fires two external Canon 580 EX2 strobes set at 1/64 power.

Thats it!  So, while sitting there taking about 600 OMD images of water drops and cursing the fact that the only macro lens I currently have is the 12mm to 50mm macro, I asked myself: “Hey Mark! Why dont you get out the X Pro 1 and put on the 60mm macro and set it up for water drops and simply push your mechanical shutter release at the same time you push the Time Machines fire button?”.  WOW, I was amazed by the simplicity of this thought and immediately got out the X and setup!  The rest is history!

Fuji X Pro 1 with the 35mm w/Canon 500D. Egg cup with green water and the time machine dripper with red water. Black backdrop.

Boat Drinks! Fuji X Pro 1 with the 35mm w/Canon 500D. Egg cup with green water and the time machine dripper with red water. Black backdrop.

Fuji X Pro 1 with the with 35mm w/Canon 500D. Egg cup with green water and the time machine dripper with red water. Black backdrop.

“Lizardo” Fuji X Pro 1 with the Fuji 60mm macro lens attached.

Now, I do have to tell you that I encountered a MAJOR issue with the Fuji 60mm Macro.  Since this technique uses multiple flashes to light and freeze the water drops, I discovered that the lens is VERY PRONE to LENS FLAIR!  ANY light that makes it into the objective from ANY angle reguardless of the placement of the flashes, even room lights will cause a flair in the direct center of the image EACH AND EVERY TIME!  This was VERY FRUSTRATING and took about an hour to overcome with CAREFUL flash placement, darkening of the room and shading the back of the camera to keep stray light from even coming into the gallery windows in the front!  I have to tell you that this was a major pain in the butt!  I can see another lens in my future to shoot macro with.  I even tried my CV 75mm f/1.8 but couldnt get close enough to the water drop to get a full frame image with a Canon 500d attached. So as you can see, the first 3 images were taken with the Fuji 35mm with a Canon 500D +2 diopter filter attached.  Even so this is as close as I could get.  The last image is with the 60mm macro.

Any suggestions for other macro lenses out there??

PLEASE??

Please let me know what you think!  The lens aside, you can see that the camera worked great for the images and I will be using it for this again provided that I find a more macro/flash friendly lens!

OK, so many emails!  Here is info on the time machine!

http://www.bmumford.com/photo/waterdrops/index.html

True Macro With The X Pro 1


Being Small in a Large World..

Zebra Longwing Butterfly Caterpillar, 1/4 inch long, Fuji X Pro 1 and the 60mm f/2.4

In another creative fervor with the Fuji X Pro 1, I decided to attend a formal CNPA (Carolinas Nature Photography Assn.) outing yesterday at Cyprus Gardens in Moncks Corner, SC.  The park is full of flowers, swamp and a nice butterfly house.  I had decided to leave all of my other camera equipment at home (it seems that this is becoming the rule now with the X Pro 1!) and concentrate on macro/closeup work with the Fuji system.  In truth, I spent all day with the 60mm f/2.4 macro lens.  The lens can shoot in the macro mode at .5x which is 1:2.  The closest focus range on this lens is a little over 10 inches.  With these limitations in mind I setup on a sturdy tripod and got about the business of creating images!

This post is NOT intended as a macro or flash tutorial. I will post images that I consider are the best at macro and closeup that this camera system is capable of creating.  Anyone can create this type of macro images with just a little forethought and a full understanding of the physics of exposure and how to use your camera as a tool! I intend to show you what this camera system is capable of creating with thought out setups, exposure and lighting!  I am going to share with you my experiences in using the camera system with the following accessories, modes and shooting supports:

  • Fuji X Pro 1, aperture priority, spot metering
  • Fuji 60mm f/2.4 lens
  • Fuji EF-20 flash
  • EF-X20 flash
  • Fuji EF-42 flash
  • Surefire 6PX Pro LED flashlight
  • Tripod and hand held
  • 40″ remote shutter release

Fuji EF-20 Flash

The Zebra Longwing caterpillar  above was about 1/4 inch in length and was taken with the Fuji X Pro 1 with the 60mm f/2.4 lens on a tripod.  Lighting was the Fuji EF-20 flash unit on camera but tilted down and set at -1ev.  As you can see, the overall setup gave a very nice image with reasonable lighting given only 1 flash!  The overall image ratio is about 1:3 which puts this squarely in the macro range.  I kept the aperture set to f/9 in order to get the entire insect in sharp focus and have a little bit of detail in the background.  Now, the real surprise:  the focus was auto with the selected focus point being the middle of the curve on the insect!  Normally, we expect to manually focus when working in macro, but I intended to test the focus capabilities of the system as well.

  • TIP: I added a slight lens vingyette in post processing   to darken the top and sides of the image to further accent the main subject.

Given that the flash uses two AA batteries, the re-charge time should be considered quite slow, but it was actually quite fast.  I enjoyed using this flash because the tilting head enabled me to shoot past the end of the the longer 60mm lens and keep the subject in nice light with no lens shading even with the lens hood installed at the 10 inch focus distance!  I did find that using the button on the back of the flash to set the EV value to be a bit tedious but since I usually set it to some negative value and leave it there it was not a very large negative!

Swallowtail Butterfly Caterpillar, Fuji X Pro 1, 60mm f/2.4, 10 inch focus, 1:2 ratio, Fuji EF-42 at -.5ev

Fuji EF-42 Flash

This next image of the Swallowtail butterfly caterpillar was taken using the Fuji EF-42 flash set at -.5ev and an aperture of f/8 on the tripod.  Here I intended to have more of a blurred background (remember in the macro range the DOF is very narrow and even a a mid aperture you will get a very blurry background) yet again keep the insect in sharp focus across its entire focus plain.

The EF-42 flash is a much higher power unit compared to the EF-20 and it uses four AA batteries for a faster recharge time.  The controls are easier to use BUT the flash head will NOT angle down beyond the level plain.  This can be overcome by pulling out the wide angle lens on the top and using it as s bounce surface to angle some light down.  As you can see in the image I created the exact image I envisioned.  The main subject (insect) is in perfect focus and the exposure is dead on with no blow out of the whites.  The background is nicely indistinct and blurry with only slight detail thus taking nothing away from the subject!  Focus was again in auto with the spot set on the top hump of the insect as it was getting ready to move forward up the branch.   Again, I added a slight lens vingyette in post processing to darken the top and sides of the image to further accent the main subject.  As stated, this was all pre-planned before I ever looked at the camera!

The Red Flower, Fuji X Pro 1, 60mm f/2.4 lens, 1:4 ratio, Ef-42 at -1ev.

OK this image of the small red flower (sorry, I have not yet identified it yet…) was again done with the X Pro 1 with the 60mm lens and the EF-42 flash at -1 ev.  The big difference here was that this was hand held.  I just could not get the camera into a position on the tripod in order to capture it.  Plus I was setting up to switch over to shooting butterflies on the move which you just cannot do on the tripod.  The flower was about1 inch in length so the image ratio here is about 1:4 which puts this image in the closeup range.  Depth of field is much better in this range so in order to have a un-defined background I set the aperture down to f/4 which gave me a sharp focus on the entire flower in its plain of focus yet blurred the background nicely.

  • TIP: The flash was setup using the wide angle adapter pulled partly out in order to reflect some of the light down towards the flower.

All in all  I think that this is a nicely done image considering it was hand held!

Zebra Longwing Butterfly. Fuji X Pro 1, 60mm f/2.4 lens, EF-20 flash at -1ev 1:8 range

Ok, moving up further into the closeup range, I created this image of a Zebra Longwing butterfly.  This was again handheld but using the EF-20 flash set level at -1ev.  Focus was auto with the focus point set silghtly off center to the top in the portrait mode.

  • TIP: When shooting macro/closeup, I always set the focus point for each and every shot.  This gives me far greater control during the setup and composition phase of my process.

Purple Orchid, X Pro 1, 60mm f/2.4, EF-20 at -1ev, 6PX Pro LED Tactical light.

Fuji EF-X20

OK, almost done!  This last image of a purple orchid was shot on the tripod  in shadow was one of the more difficult images of the day.  I had to use a 40 inch remote shutter release and hunch below the flower and tripod with a 5000 degree kelvin LED flashlight angled up into the flower.  I also used the EF-X20 flash set at -1ev to give the purple of the flower even lighting and a sparkle.  The EF-X20 is the easiest of all the Fuji flash units to control due to its top mounted mode dial.

Surefire 6PX Pro

The LED flashlight is a 6PX Pro Tactical light with variable output and is perfect for macro work.  Its light is bright white and since you can control the power level it makes for very easy control!  This light and many others can be found at  www.Surefire.com but be advised, they are expensive!  I keep several versions of these tactical lights on hand.  They are all useful and a positive addition to a macro kit!

OK, that is it for today.  But consider this last point, Macro work can be done with any lens, you do not need to have a dedicated macro lens.  With the simple addition of a closeup adapter (I recommend the Canon 500D series of adapters) you can convert ANY lens to macro/closeup!

What did you think of this post?  Please feel free to leave feedback and comments!  I value your input.