sippyjug104 Loc: Missouri

I came across this moth this morning while walking the yard and it agreed to be a subject for a focus stacking session.

I used a translucent plastic drink cup turned upside down with a window cut out of it for the lens of the camera to view into. The cup has two layers of white paper towel covering it for additional diffusion of light. A piece of pastel gradient paper is attached inside behind the subject to create a colored background.

The combination of lenses and lighting are my most often used and I've attached a photo that shows this setup with a piece of black velvet as the background. I place various colors of paper over it depending on what backgrounds I want to create.

As always, thanks in advance to all who view and for your comments, suggestions, questions and critique.

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martinfisherphoto Loc: Lake Placid Florida

Is that a reversed enlarger lens you're using???? Lighting is pretty nice. PS are you advancing the subject or lens or advancing the lens focus per step?? Looks like subject on slide, but not sure if you using in this capture.

sippyjug104 Loc: Missouri

Thanks for asking and I enjoy sharing what I do. The lens is a Schneider Kreuznach Componon 50mm f/2.8 that is set at f/5.6. I mount it in reverse onto a Raynox DCR-150 magnifying lens which I also mount in reverse. I also use this to serve as a 208mm tube lens when I mount an infinity microscope objective to it.

These two lenses that are coupled together are attached to 150mm of extension tubes which is attached to the camera. I chose the M42 thread size as my standard for there are many adapters and old lenses available for it.

I use constant lighting which I diffuse in a variety of ways depending on the subject's brightness, reflectivity, metallic shimmer, etc. The main lights are IKEA LED desk lamps and I supplement them with two fiber optic light heads that I can vary the intensity on. Their light source is a halogen light generator commonly used for microscopic illumination.

I illuminate the subject from four directions through primary diffusers that I make to suppress shadows and bright spots. My shutter speeds typically run between 1/20th to 1/40th second for this arrangement.

I use a WeMacro digital motorized focus rail which I program based on the lenses and the amount of magnification as well as the total distance of travel required. In the case of the moth that I posted it was 15-micron increments between shots. This session required 256 images and was processed using Zerene Stacker into the final image.

tinusbum Loc: east texas

nice stack!!!!!!

sippyjug104 Loc: Missouri

Regarding the advancement of steps, I advance the camera via the WeMacro focusing rail. I use an inexpensive slide table that moves in the 'X' and 'Y' axis. It works great for positioning the subject however no real machinist would use it on his drill press or mill (it was less than $40 new).

I set a $10 4x4 stainless steel laboratory scissor jack on it to provide the 'Z' axis for staging the specimen in view of the camera. I have a screw driven manual focus rail attached to the digital motorized rail that I use for quick travel and fine tweaks and I have another manual gear driven focus rail mounted upright on the slide table that I can use to hold specimens in position and to fine tune tweak.

Focus stacking can be done quite easily and inexpensively producing eye-popping results. I've accumulated a lot of 'stuff' so it's either set it on my bench and use it or pack it away so what the heck.

My workbench is an old laboratory cabinet with a 1-inch thick acid resistant synthetic stone top. I placed a piece of 1-inch thick granite (cut out for a kitchen counter sink) that I placed on top of several high-density vibration isolation pads. The camera platform has high-density foot pads that I siliconed to the granite slab. The entire rig sits on the concrete basement floor so there is little to no vibration and I do not touch anything once the computer takes control of the session. I turn out the lights, leave the room and drink a coffee or cold beer until the process is over. I shoot in mirror up, viewfinder closed, and I program a 2-second pause between shots so that any vibrations settle down before the next shot.

newtoyou Loc: Eastport

Your effort in developing this method has paid off in spades.
The stacking makes the overall picture, but at the same time it is the lighting and background that create the exquisite look and allow the colors to be at their most vivid.
I doubt that many who view know of the effort to clean the specimen that it takes.
Insects are inherently dusty. They groom constantly, but never 'detail' their bodies.
And tho you may not have asked, that is a Yellow-collard Scape Moth. Cisseps fulvicolis. The collar is orangish here in the east and grades to yellow as you get into the midwest.
From Charles Covell, Phd. Peterson field guide.
I am 'hoarding' specimens for the winter. I even have duplicates. I am interested in seeing what some will look like when stacked. A care package in the works.
One favor, can you post some single shot shots? A macro, before you start the photo run. Thanks, Gary.
Bill

Mark Sturtevant Loc: Grand Blanc, MI

Very good. As is common, Bill beat me to the ID. I need to goof off while at work more often. 🙂

sippyjug104 Loc: Missouri

Bill, thanks ever so much for you support and the mentoring you have given me. I am truly indebted to you for it as well as to the other regulars here that have helped me with technical aspects and experienced advice.

When I first started my goal was to shoot whatever came my way which was mostly wildflowers and inanimate objects. The few times that I would happen across an insect you helped me understand what it was and what part it played. Over time they have now become my passion and I am amazed at the wonders I see in each one.

I'll start including a full view of the subjects along with the stacked result for identification and comparisons so you and others can look forward to seeing them included in my future posts.

kpmac Loc: Ragley, La

Nice once again.

newtoyou Loc: Eastport

I have an advantage.
Like Gary I am 'into' a field I enjoy. Mine was a long term affair with entomology re-awakened. I would not have thought I had retained as much as I do. I put a lot of years and time into insects before finding I could make more money as a woodworker than an entomologist. Never completely 'leaving the faith', or most of my library.
This melds, with my only fifteen year affair with photography.
And 'The Hog' gives me, and the rest of us, a floor to compair our common knowledge.
I hope to increase mine. Thanks for the help, Mark.
Bill
OH, and I am retired.

Blenheim Orange Loc: Michigan

Thanks for describing your set up and techniques, and thanks to Bill for the information. We are lucky to have both of you here.

Mike

sippyjug104 Loc: Missouri

Thanks Mike, I enjoy sharing what I do as much as I do doing it. There are several folks on the forum that also focus stack images and I always learn something along with inspiration when they share their work. I tip my hat to those who focus stack in the field with live subjects for that truly is a mastercraft process.

sippyjug104 Loc: Missouri

I noticed that the image I posted had a purple color cast to it. I imagine that I need to turn the lights on when I work. This is my moth without the "purple haze".

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LindaBowers Loc: Hilton, NY

Nice! So was the moth alive when you asked her for the photo shoot?

sippyjug104 Loc: Missouri

Linda, sadly the moth was dearly departed. There are ways to produce focus stacked images in the field or staging with live subjects however they are very limited in the number of shots that can be taken for any movement is disruptive to focus stacking. At higher levels of magnification slight vibrations cannot be tolerated.

I collect only common and numerous specimens as well as those that are considered to be a nuisance or that are destructive. I dispatch them in a jar with Methyl Acetate which acts quickly. Then I stage them for a session which at times can take over 500 images and at times up to 1000 shots. This takes between 45 minutes to an hour of camera 'picture taking'. Processing all of the individual images into one takes on average of four hours of computer crunching time to produce my posted images.