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Art V.

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  1. Hi... If there's nothing readily available around 165mm (6 1/2 inches), you could probably adapt a large diameter achromatic objective to work for you. I checked a 2013 Edmund Optics catalog but they had nothing larger than 128 mm, and those were very expensive ... $1,200 in the mounted version. Buying a used telescope (refractor) and using the objective might work. Or... contact an optics manufacturer like this one (old link) http://www.dgoptical.com/objective.htm and describe what you need. Prices are hair-raising, so the best might be to find a used consumer-grade telescope that "needs wor
  2. Regarding curvature: I've found quite a bit of variability in curvature of macro images taken with the iscorama, ranging from none at all, to "extreme"... almost difficult to look at, depending upon which supplemental lens I use, whether it's mounted normally or reversed, and which primary lens the Isco is used with. I've recently scavenged two objectives from badly damaged (totally non-repairable) lenses, a Nikon 80-200mm f/2.8 ED AF, and a Sigma 70-200mm f/2.8 ED AF. These objectives, both 77mm, have ED glass, thus I was eager to see how they worked as supplemental lenses on the Iscorama. Us
  3. Hi Gregory... How close do you want to get? I'm using an Iscorama pre-36 for macro anamorphic still photography, using objectives from old telephoto lenses reverse mounted on the Isco compression module, used with a variety of prime lenses. I have no trouble shooting down to a working distance of around an inch, with a field width of about .5 inch. I'm not sure whether this would have any value in video production, though. As an example, the front cell (objective) from an old Soligor 450mm telephoto lens (cheap price generally, gives a field width of 5 inches at a working distance of 12 inches
  4. Hi Tito... You can bet that if I had a camera that offered stellar high-ISO performance I'd be shooting the bulk of my macro stuff with natural lighting... with maybe a hint of fill. It might actually be worth renting such a camera and "take it for a spin", see how well (or not) great high-ISO capability would work out for anamorphic macro.
  5. Hi Tito, Dan... Thanks for your comments. Although I only shoot stills, some of the info I've provided might work with film / video. The decision to go with diopters made from junk lens objectives was purely economic, since... being retired, I don't have much money to put into this activity. The results might be far better for those folks who want to try doing this with more "high end" cameras. I'm using a Nikon D40 and D60, both relatively poor (and limited) high ISO performers, so I'm stuck working at !S0 100 to 400. I've found that good junk lenses to scavenge front objectives from are th
  6. Hi Bootsie... Thanks! Here are some quick photos of two of my shooting rigs, with an explanation for each pic. The image above shows my set-up for shooting with a high magnification supplemental lens reverse mounted on the iscorama, using the Isco on my Nikkor-H 85mm f/1.8. The bracket is made from two strips of hardware store aluminum, drilled to allow mounting with a knob onto the tripod mount of the camera. The angle of the arms is adjustable to allow for different sized foil reflectors to be used at various close working distances. This is a special short-arm bracket for working very close
  7. Hi Julian... Thanks for the response. After a close family friend passed away years ago I arranged for the sale of his old Arriflex II-C camera, His Iscorama lens was given to me by his niece as a "thank you". I've used it for years, shooting slides, then shelved it when I "went digital". Several years ago I stumbled across the EOSHD website and it rekindled my interest in using it for digital work. It's only fairly recently that I've played around with it with the idea of adapting it for close-up shooting. I'm still not fully up to speed with it when working at close distances. The very shall
  8. Hi... I just joined the group but have been a lurker and anamorphic shooter since acquiring an Iscorama (1968 version) years ago. The Nikon 50mm module it came with had mechanical issues and has been retired. I now use the compression module on a Nikkor-H 85mm f/1.8, Nikon 105mm f/2.5, and a Nikon 200mm Micro-Nikkor f/4.0. My question relates to a shift in anamorphic "squeeze" when the focusing distance changes. I shoot anamorphic stills only, much of the work is at very close distances. All close-up / macro shooting is done leaving the Isco focused at infinity, with magnification achieved thr
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