Page 2 of 3 FirstFirst 123 LastLast
Results 11 to 20 of 27

Thread: Process Lens & Close Work

  1. #11

    Join Date
    Aug 2018
    Posts
    350

    Re: Process Lens & Close Work

    Quote Originally Posted by neil poulsen View Post
    That's a good point.

    While I would consider something else, I was thinking of a 210mm G-Claron as a process lens, and definitely a Plasmat (the only other lenses that I have) in the same focal length as a "standard" lens.

    I have it in mind to photograph a violin in vertical, frontal position, straight on and across using a 5x7 camera with no movements. I would enlarge either to 11x14 or 16x20. I would like to see every tiny spec of detail on the front of the violin.
    If that is your goal then it won't matter when using f22-f22 1/2. But going closer to 1:1 it will make the G-Claron shine, while if you try to shoot wide open the plasmat will shine - my Apo-symmar 210mm was so sharp in center it did match my 35mm lenses, while my process lenses do not show super sharpness before f11-f16.

    https://www.flickr.com/photos/470525...57634939838558 at the bottom has 1:1 pictures comparing 210mm of single-coated Fujinon-W, Nikkor-W, Apo-Gerogon f9 and a Macro-Sironar-N 210mm macro-on-mirrorless shots, done just to educate myself.

    Sent fra min SM-G975F via Tapatalk

  2. #12

    Join Date
    Jan 2007
    Location
    New York
    Posts
    2,539

    Re: Process Lens & Close Work

    Quote Originally Posted by neil poulsen View Post
    I have it in mind to photograph a violin in vertical, frontal position, straight on and across using a 5x7 camera with no movements. I would enlarge either to 11x14 or 16x20. I would like to see every tiny spec of detail on the front of the violin.
    A full size adult violin is about 23" long. With a 5x7 sheet of film, and without taking into account the background, you're at a magnification of 4.6:1 (landscape orientation) or 3.3:1 (portrait orientation) just for the violin. You're more or less at the magnification ratio of portraits of people. A standard lens should work fine.

  3. #13

    Join Date
    Dec 1999
    Location
    Forest Grove, Ore.
    Posts
    4,165

    Re: Process Lens & Close Work

    In fact, I'd be using a 180mm Apo Symmar, which has plenty of image circle for 5x7.

    This has turned into quite a helpful thread. I appreciate the responses that have been offered.

    Quote Originally Posted by Oslolens View Post
    If that is your goal then it won't matter when using f22-f22 1/2. But going closer to 1:1 it will make the G-Claron shine, while if you try to shoot wide open the plasmat will shine - my Apo-symmar 210mm was so sharp in center it did match my 35mm lenses, while my process lenses do not show super sharpness before f11-f16.

    https://www.flickr.com/photos/470525...57634939838558 at the bottom has 1:1 pictures comparing 210mm of single-coated Fujinon-W, Nikkor-W, Apo-Gerogon f9 and a Macro-Sironar-N 210mm macro-on-mirrorless shots, done just to educate myself.

    Sent fra min SM-G975F via Tapatalk

  4. #14
    Tin Can's Avatar
    Join Date
    Dec 2011
    Posts
    19,395

    Re: Process Lens & Close Work

    Please define 'close work' exactly

    When does normal become Macro andor close work

    Ken Lee is a master of typewriter keys, what is that called

    Is there a rule?

    Quote Originally Posted by r.e. View Post
    A full size adult violin is about 23" long. With a 5x7 sheet of film, and without taking into account the background, you're at a magnification of 4.6:1 (landscape orientation) or 3.3:1 (portrait orientation) just for the violin. You're more or less at the magnification ratio of portraits of people. A standard lens should work fine.
    Tin Can

  5. #15

    Join Date
    Jan 2007
    Location
    New York
    Posts
    2,539

    Re: Process Lens & Close Work

    Quote Originally Posted by Tin Can View Post
    Please define 'close work' exactly

    When does normal become Macro andor close work

    Ken Lee is a master of typewriter keys, what is that called

    Is there a rule?
    I didn't even use the term "close work", and I addressed your questions in post #3. I would have thought that what I said in the post to which you're responding (#12) is self-explanatory.

  6. #16
    Tin Can's Avatar
    Join Date
    Dec 2011
    Posts
    19,395

    Re: Process Lens & Close Work

    Thank you

    I will be using for the first time a Nikkor 210mm AM ED Macro

    I have used Plasmasts at +3 on 11X14 some years ago and was blasted universally by Forum experts







    Quote Originally Posted by r.e. View Post
    I didn't even use the term "close work", and I addressed your questions in post #3. I would have thought that what I said in the post to which you're responding (#12) is self-explanatory.
    Tin Can

  7. #17
    Drew Wiley
    Join Date
    Sep 2008
    Location
    SF Bay area, CA
    Posts
    16,912

    Re: Process Lens & Close Work

    G-Claron plasmats, generally in no. 1 shutter, were deliberately marketed for closeup tabletop photography, and are excellent for general shooting also, clear out to infinity. Not fully equal to Apo Nikkor process lenses in my own tests, but plenty good enough for most closeup purposes, and more convenient. And a 210 GC easily covers 5X7 stopped down, even at infinity. If one is commercially specializing in big enlargements of diamond rings or insect portraits, then a specialty lens like the 210 Nikkor AM ED might be a worthwhile investment. Otherwise, the specially close-range corrected (but also highly versatile) plasmats like GC and Fuji A series will do a decent job if you want something already in shutter. I've done high resolution 1:1 work with the 360 Fuji A on my 8x10, as well as with the 180 A on 4x5 format.

  8. #18

  9. #19

    Join Date
    Jul 2008
    Posts
    3,446

    Re: Process Lens & Close Work

    APO artar, APO ronar and similar has been the table top and "close up" image lens of choice for decades. They do excellent from infinity focus to life size 1:1.

    The more pressing need for close up images, lighting, camera support/set up stability. Lighting is always an issue for these images as is camera stability/set up. Weaknesses in camera support and set up negates any advantage the the lens might have if stuff does not stay put.

    Other pressing question becomes DOF/F, unless stacking of properly focused images is used, DOF/F can be a real issue. Stopping the lens down to f90 or more is not always the cure for this way of nature.


    Bernice

  10. #20

    Join Date
    Feb 2009
    Posts
    245

    Re: Process Lens & Close Work

    My practice-based opinion is here: https://www.largeformatphotography.i...=1#post1394698

    But that's all about the purely technical stuff such as sharpness and contrast. And as I said more than once, for 3-D subjects, the out of focus rendition is far more important for me. So for anything 3-D I just use Dagors.

Similar Threads

  1. Close up lens, how do they work?
    By erian in forum Lenses & Lens Accessories
    Replies: 7
    Last Post: 25-Jan-2020, 15:18
  2. Need for 180~210mm MC lens for close-up work
    By redu in forum Lenses & Lens Accessories
    Replies: 17
    Last Post: 21-Mar-2012, 03:16
  3. APOCHROMATIC ? Close-up work
    By zack kl in forum Lenses & Lens Accessories
    Replies: 21
    Last Post: 2-Aug-2008, 08:58
  4. Close up work
    By radchad in forum Style & Technique
    Replies: 8
    Last Post: 23-Sep-2007, 10:24
  5. doing close up work
    By Emre Yildirim in forum Style & Technique
    Replies: 14
    Last Post: 2-Jan-2006, 20:31

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •